*M'' V* .ficrf! A. \J J, fLlL-.i
MT
35
W333
1914
Pt. 1
c. 1
MUSI
Presented to the
LIBRARY of the
UNIVERSITY OF TORONTO
from the
ARTHUR PLETTNER
ISA McILWRATTH
COLLECTION
THE JOSEPH WILLIAMS SERIES OF HANDBOOKS ON MUSIC UNDER THE EDITORSHIP
OP STEWART MACPHBRSON.
n
AURAL CULTURE
BASED UPON
MUSICAL APPRECIATION
BY (-\
STEWART MACPHERSON
AND
ERNEST READ
(With an Appendix to Part I, " The Realization and Expression of Music through
movement," by MARIE SALT)
IN THREE PARTS:
PART I.— PRICE 51- NET CASH.
„ II, „ 71-
„ HI. „ 71-
Pupils' Books of Songs and Exercises from the same, including Sight-Singing Studies, etc.
To Part I. — Price One Shilling net cash.
Part II. — Price One Shilling and Sixpence net cash.
Part III. — Price Two Shillings net cash.
LONDON : JOSEPH WILLIAMS, LIMITED, 32 GREAT PORTLAND S.TREET, W.I.
AGENTS FOB AMERICA
THE B. P. WOOD MUSIC CO.. 85 ST. STEPHEN STBEET, BOSTON. U.S.A.
8149 [MADE AND PRINTED IN GREAT BRITAIN!
NOTE TO NEW AND REVISED EDITION.
THE call for a new edition of the present volume has enabled
the Authors to make some slight alterations and additions
in the course of the text, and also to modify in some instances
the Pianoforte accompaniments to the Rhythmic Exercises and
Nursery -Rhyme Tunes, in the direction of greater ease of
execution.
LONDON, 1914.
SINCE the appearance in 1910 of "Music and its Appreciation" and
" The Appreciative Aspect of Music-study," I have been repeatedly
asked to write something in the nature of a class-book, or teacher's
guide, for those desirous of systematically training their pupils in
the aural perception of music. Certain ideas had begun to shape
themselves in my mind in this direction when I discovered with
pleasure that my friend and former pupil, Mr. Ernest Read, A.R. A.M.,
was planning a series of lessons in which the basic facts of music,
such as Pitch, Time, Rhythm and Character, were revealed to the
pupil through the medium of definite musical compositions. This
design — so far as I know, original in its conception — seemed so
eminently in consonance with the whole idea of Musical Appreciation
Study, that I at once proposed to Mr. Read that we should collaborate
on the present work. As a consequence, those portions of each
volume dealing more directly with the question of Ear-training and
Sight-singing represent in large measure the result of his experience
in teaching classes both of children and also of those who can no
longer be described as belonging to that category. The special
Rhythmic Exercises and Nursery Rhyme tunes, which I feel will
form a very attractive feature of the elementary lessons, are the
composition of my colleague.
As stated in the Introductory Chapter, Parts II and III deal
with more advanced aspects of the matters contained in Part I, and
develop the idea of Musical Appreciation in its wider sense, in a form
which it is hoped may be useful to the teacher who may be concerned
either with classes or with individual pupils.*
Although actually independent of the scheme of work herein set
forth by my colleague and myself, the interesting and attractive Free
Rhythmic Movements for young children described by Miss Marie Salt
m the Appendix entitled " Music and the Young Child," are, in my
opinion — based upon close personal observation for some time past —
of the utmost value in preparing the way for a more formulated
musical training of ear and mind. It is obvious that such movements
could with advantage precede or accompany the scheme of study laid
down in Part I of this book.
STEWART MACPHERSON.
LONDON, 1912.
* A synopsis of Parts II and III will be found at the end of this volume.
TABLE OF CONTENTS.
INTRODUCTORY CHAPTER
DIRECTIONS TO THE TEACHER
EHTTHMIC EXERCISES AND SONGS (Twelve Steps) 9
STEP
I (a).
PULSE BEGULARITY
33
ii
STEP
II (a).
IMITATION AND MEMORIZATION OF Don AND Son
PULSE AND ACCENT — DUPLE TIME
34
38
STEP
II (b).
Ill (a).
IMITATION AND MEMORIZATION OP UPPER Don
PULSE AND ACCENT — TRIPLE TIME
41
43
Ill (b).
IMITATION AND MEMORIZATION OP ME ...
45
STEP
IV (a).
IV (b).
PULSE AND ACCENT — QUADRUPLE TIME
IMITATION AND MEMORIZATION OF TE ...
47
50
STEP
V(a).
DUPLE TIME — TWO-PULSE SOUND
53
V (b).
IMITATION AND MEMORIZATION OF BAY ...
56
STEP
VI (a).
VI (b).
TRIPLE TIME — THREE-PULSE SOUND — THE ONE-LINE STAFF...
IMITATION AND MEMORIZATION OF FAH...
59
62
STEP
VII (a).
QUADRUPLE TIME — FOUR-PULSE SOUND...
65
VII (b).
IMITATION AND MEMORIZATION OF LAH...
67
STEP
VIII (a).
VIII (b).
THE STAFF OF TWO LINES — FURTHER PRACTICE IN DURATION
THE SCALE...
71
74
STEP
it
IX (a).
IX (b).
SYNCOPATION — THE STAFF OF THREE LINES
THE TONIC, DOMINANT AND SUB-DOMINANT CHORDS — PERFECT
AND IMPERFECT CADENCES ...
77
80
STEP
STEP
STEP
it
X(a).
X(b).
XI (a).
XI (b).
XII (a).
XII (b).
HALF-PULSE SOUND — THE STAFF OF THREE LINES (continued)
EXTENSION OF SCALE — LOWER Son, LAH AND TE
ONE-AND-A-HALF-PULSE SOUND — THE STAFF OF FIVE LINES ...
THE INTERRUPTED CADENCE — FIRST STEP IN ABSOLUTE PITCH
BESTS — FIXED (OR ABSOLUTE) PITCH APPLIED TO THE STAFF
BESTS — THE POSITION OF THE DOMINANT AND SUB-DOMINANT
CHORDS ON THE STAFF — THE MAJOR SCALE
83
87
88
92
96
100
ALTERNATIVE (EASIER) SONGS FOR PITCH-LESSONS ... ... ... ... ... 103
BECREATIVE Music TO BE PLAYED TO THE PUPIL WITHOUT TECHNICAL COMMENT 112
APPENDIX — MUSIC AND THE YOUNG CHILD — THE BEALIZATION AND EXPRESSION
OF MUSIC THROUGH MOVEMENT, by MARIE SALT ... ... ... i to XV
ECILIA.
A Collection of Part Songs for two, three and four Treble Voices
(c) Signifies that the sol-fa version is printed irith the old notation.
SERIES 16 (2 Treble Voices).
O.N. Sol-fa,
Chimes. 2 v Harry Farjeon 3d. (c)
A Tudor Saylor's Song. 2 v. ...Harry Farjeon 3d. (c)
As Happy as Kings. 2 v Harry Farjeon 4d. (r)
The Lamb. 2 v Laurence Powell 4d. (c)
I Love Sixpence (Canon). 2 v Adam Carse 4d. (e)
The Song of the Minutes. 2v Felix White 4.1. (t)
Windy Nights. 2v Jessie Furze 4d. (c)
Marching Song. 2v Jessie Furze 4d. (f)
Lullaby. 2 v Jessie Furze 4d. (e)
Fairy-Land. 2v Cyril Jenkins 4d. (c)
Mary, Mary. 2v Cyril Jenkins 4d. (c)
Waken, lords and ladles gay. " v.
Liurence Powell 4d. (c)
There be none of Beauty's Daughters. 2 v.
Allan Biggs 4.1. (r)
Foreign Craft. 2 v Gerrard Williams 4d. (c)
The rag and bone man. 2 v Josef Holbooke 4.1.
Rllloby-RIU. 2 v Granville Bantock 6d. (c)
Endymlon. 2 v C. 31. Edmunds 4d. (c)
SERIES 23 (2,3&4 Treble Voices).
1 From Asia, from the dayspring ,,. rh_r_, \
that uprises. 3 v songs ami
2 Where Is the home for me ? Dances
0 Cyprus I 3v from " The
3 Will they ever come to me, ever Bacchae"of
again? 3v I Euripides,
4 Weave ye the dance. 3v GRAN£ILLE
5 There be many shapes of R Awrnrt
mystery. 3 v V "'"m ; 4j
0 Night hymn at sea. 2v A. Goring Thomas 4d.
7 A Spring day (Canon). 2 v A. E. Horrocks 4d.
8 Maidens blithe. 2v H. Purcell 4.1.
!) Fair Fldele. 2v T. A. Arne 4d.
10 0 hush thee, my bable. 2 v N. W. Gade i.l.
11 The throstle. 2v King Hall i.l
12 The song of the reeds. 2 v Henry Smart H
13 Evening. 2 v I. Tschaikowsky 4d.
14 Orpheus with his lute. 3 v Dorian Pascal 4d.
15 Hark, hark, the lark. 3v Ernest Walker 4d.
16 Weep you no more. 2v Martin Shaw 4d.
17 A lake and a fairy boat. 3 v. ...Julius Harrison 4.1.
18 Spinning Song. 3 v R. Wagner 4d.
19 Cradle song. 4v Lesley Bamford 4d.
20 Shoot, false love, I care not (Ballet). ST.
C. E. Miller 4.1.
21 A home song. 3v Herbert Antcliffe 4d.
22 A Song of Spring. 3v F. Gumbert 4d.
23 Down Rathmin Lane. 2v ( uthbert Forster 4d.
24 Robin Redbreast. 2v Alec Rowley 3d.
9d. —
6d.
M.
6d
2<t.
3d.
3d.
U
M.
SERIES 22 (2 & 3 Treble Voices).
O.K.
The Dance. 2 v Edward Elgar 4d.
8
9
IM
11
12
13
14
i:,
Ifl
17
18
10
-0
•Jl
False Love. 2v Edward Elgar
Lullaby. 2 v .....Edward Klgar
Aspiration. 2 v Edward Elgar
Daybreak. 3 v.... May Day }
Ballad. 3v a Vocal Suite
Noonday Rest. 3v by JOSEF .-
Rhyming Game. 3 v RHEINBERGER |
Voyage Homewards. 3 v *>
A Japanese Lullaby. 2 v Eric H. Thlman
To Meadows. 3 v Eric H. Thlman
The Nymph's Song. 2 v Edgar Balnton
Passing of Summer. 2 v Stuart Young
To a Skylark. 2v Cuthbert Forster
Love Is a Sickness. 3 v Eric A. Smith
The Goblins' Feast. 2 v Granville Bantock
If you see a Fairy Ring. 2 v Mansel Thomas
The Rowan Elf. 2 v Granville Bantock
There be none of Beauty's Daughters. 2 T.
Gilbert A. Alcock
4d.
4d.
3d.
4.1.
I.I.
I.I
6d.
M.
i.l.
4d.
1. 1.
3d.
i.l.
4d.
4d.
3d.
4d.
3d.
Sol-fa.
3d.
3d.
3d.
2d.
(«)
(O
(O
(c)
(*)
(e)
SERIES 24 (2, 3 & 4 Treble Voices).
Arranged and Edited b\i GUANVILLE BANTOCK.
May dew. 2v W.S.Bennett 4d.
Children's morning hymn. 2 v H. Berlioz 4d.
The fate of the roses. 2v C. Chamlnade 4d.
Come 0 slumber. 2 v Ch. Gluck 4d.
The dream. 2 v J. Haydn 4d.
The hum of the bees. 2 v K.Mendelssohn 4d. 3d.
The triumph of fate. 2 v H. Purcell i.l.
The angel. 2 v A. Hubinstein 4d. —
Wanderer's night song. 2 v A. Rubinstein 4d.
Song of the shepherdesses. 2 v F. Schubert 4d.
Happiness. 2v R. Schumann 4d.
Love's garden. 2 v R. Schumann 4d.
May song. 2v R. Schumann 4d.
O come with us and wander. 2 \....R. Schumann 4d.
O happy snow. 2 v R. Schumann 4d.
Song of spring. 2v R. Schumann 4d.
The gipsies' revel. 2 v R. Schumann 4d.
To the evening star. 2v R. Schumann 4d.
To the nightingale. 2 v K. Schumann 4d.
Evening song. 2 v L. Spohr 4d.
Rest. 2 v L. Spohr 4d.
The heart may never know. 2 v L. Spohr 4d.
Aurora Is waking. 2v A. Goring Thomas 4.1.
Dawn (See, the dawn's rosy ray !). 2 v.
P. Tschaikowsky 4d. —
Tears. 2 v P. Tschaikowsky 4d.
Chorus of swan-maidens. :i v F.Pascal 6d.
Coronach. 3 v F. Schubert 6d.
Hallelujah. 3v F.Schubert 6d.
Quiet night. 3v R.Schumann 4d.
0 days that are no more. 3 v R.Schumann 4.1.
Wake, lovely rose. 3 v K. Schumann i.l.
God Is my shepherd. 4 v F. Schubert M.
God in nature. 4 v F. Schubert 8d.
Serenade (4 v. & solo) F. Schubert 8d. —
London : JOSEPH WILLIAMS LIMITED, 32 Great Portland Street, W.I.
8283
AURAL CULTURE BASED UPON
MUSICAL APPRECIATION.
INTRODUCTORY CHAPTER
EXPLANATORY OF THE SCOPE AND PURPOSE OF THE
PRESENT WORK.
THE subject of Ear- training, or as it should rather be termed, the
cultivation of aural perception, is, after a long period of neglect,* at
last coming into its own, and is gradually being recognized as the one
matter of vital importance underlying all musical education worthy
the name. It is dawning upon the minds of musicians to whom the
very idea of Ear-training was as something strange and un-heard of
in schemes of musical work, that it may be even more necessary,
for real progress, to train the mind than to train the fingers, and
educationists who have long felt that there was something radically
Educational wrong m existing methods of general music-study are
value of welcoming the newer aspect of things in a spirit of
sympathy, born of a realization that it may be possible
to make music a subject of real value in a liberal education, instead
of a mere amiable accomplishment absorbing a great deal of time
for a singularly poor return. It must in fairness be confessed that
the question of Ear-training has in the past not infrequently been
presented in a not altogether attractive light, and musicians of an
impulsively artistic temperament have, with some little show of
reason, been wont to complain that skill in certain of its aspects
was often acquired at the expense of some of the subtler esthetic
qualities, and also that not a few of those possessed of the
power of recognizing sounds and of naming them when heard,
tvere distinctly lacking in actual musical instinct. The reason for
* Save by the Tonic Sol-faists, who for many years were the only public body
who persistently drew attention to the matter, and whose splendid work in this field
cannot be too strongly eulogized.
2 AURAL CULTURE BASED UPON
this is not far to seek ; it lies, not in the subject itself, but in the
manner of its presentation. Two matters, and two matters only,
have too often been considered as essential in any
deflctenSesf scheme of Ear-training work, viz., Pitch and Time.
The recognition of these by the pupil, and the ability
to sing at sight passages in which these two elements were taken
both separately and in combination, have constituted the be-all and
end-all of much teaching in the past. The power gained even in
this limited field is something to be thankful for, but it is none the
less true that the result was frequently of a purely technical kind,
and music was often at a discount during the lessons.
The grasping of the ideas of Pitch and Time must, of course, be
the foundation-factor in any scheme of work, but there are two
Rhvthm and otner Aspects of the subject of equal importance, the
aesthetic omission of which will render Ear-training work sterile
and unfruitful, — the development of the rhythmic sense,
and the cultivation of the aesthetic perception of the music. In the
opinion of the authors of this book, all Ear-training work must be
based upon Musical Appreciation ; the technical side must never be
divorced from the aesthetic, and the whole aim of the study must
be the fostering of real musical perception in the pupil.
In the present work the authors have endeavoured from the very
first to consider everything from the one standpoint of Music, and
every lesson is therefore built-up upon a consideration of some
definite composition, even from the point at which the pupil is taught
to absorb the underlying idea of Pulse and to discern the difference
in Pitch between two sounds. In other words, the "technique" of
the subject is extracted from the music, instead of being presented to
the pupil baldly, qua " technique," as something which is to lead to
music — some day. The dilh'culty of carrying out this plan lay
naturally in the earliest stages, where the impossibility of finding
tunes containing only the particular scale-degrees to be introduced to
the pupil's notice step by step, constituted a very real obstacle.
This obstacle has, it is believed, been overcome by the writing of
several special tunes for the purpose, in each of which some new fact
of Time, Rhythm, Scale-relationship or Mental effect is presented for
his consideration.
On this basis the authors feel that it is possible to train the child
to observe with his ears, and so to create such an attitude of mind
MUSICAL APPRECIATION. 3
that he will, as he progresses, find himself consciously absorbing many
of those beautiful points of detail in music which, to the uncultured
Trainine* ear> are "as Chough ^hey were not." And it should
in aural surely be clear that if the listening to, and appreciation
jrva ion. Q£ mus-c is to j^ something more than purely sensuous
gratification, it must connote the alert use of our faculties, and the
drawing out of our best efforts of mind and will, really to hear what
the composer has written.
On the other hand, it is of course true that the pupil may
be brought into touch at an early age with a good deal of music
to which — although he will not be able to grasp it
consciously or fully — he will yet enjoy listening, in a
general sort of way. This is a branch of musical
education which it is most important to carry on side by side with
the more conscious assimilation of the material of the music, to which
allusion has already been made. It is comparable to surrounding the
child in daily life with beautiful pictures, or reading aloud to him noble
poems, of whose full meaning he may at the time be largely ignorant,
but whose general "atmosphere" he nevertheless instinctively feels,
and whose true significance will gradually reveal itself to him as his
mind and his whole nature expand to the realities of existence.
In choosing the music to be played, however, the teacher must
studiously avoid " shooting too far over the pupil's head " ; it should
hardly need enforcing here that works of a profound
music! ° or complex nature are entirely unsuitable, and defeat
the object for which they are selected.* As a help to
the teacher who may wish thus to stimulate his pupil's musical
imagination, a list of pieces suitable for use in this way has been
compiled, and will be found on page 112.
The complete course planned by the authors of the present work
is arranged in three parts, Part I representing about as much as the
average child will, in all probability, absorb during the first few
months, or even the first year, of his study, the remaining parts
leading him on to the point at which he will be in a position to profit
by regular lessons in the constructive side of Harmony, and in more
advanced Musical Appreciation.
* In this connexion it may be said that the lists of works for children's
consumption, drawn up in certain educational journals, are proof of singularly warped
ideas on the subject. The one and only result of such a bill of fare would inevitably
be a fit of mental indigestion !
AOBAL CULTURE BASED UPON
DIRECTIONS TO THE TEACHER.
1. — This book is intended purely as a guide to the teacher, and
it is not the wish of the authors that it should be regarded as setting
forth any rigid, prescribed system of teaching.
2. — While it is desirable — and necessary — that the order in
which the subjects are presented shall be followed closely, any slavish
adherence to the words of the various lessons is to be deprecated.
The teacher should, from the very first, endeavour to clothe the ideas
of the lessons in his or her own language, in order to avoid any
suspicion of formality, and also to cope with those special exigencies
which are bound to arise from time to time, either in class or
individual teaching.
3. — It is absolutely essential that the pupil should be taught
from the outset to realize and appreciate (i.e., apprehend) Music, and
to think musically ; any temptation, therefore, on the part of the
teacher to regard him as a receptacle for the mere storing of facts
should be strenuously resisted. His knowledge should, moreover, be
gained experimentally, that is, in the first instance through contact
with, and observation of, certain musical compositions suited to his
comprehension, in which he can feel interest and pleasure. By this
means he will the more easily and surely be led on to the grasping of
general principles. In other words, it is better, in the early days
of the pupil's training, for the teacher to work inductively, rather
than deductively.
4. — The various Steps into which the work is divided merely
indicate stages of progress in the learner's study, and any one of them
may quite conceivably be found to contain enough material for
several lessons. The actual amount of ground covered at each lesson
must be a matter for the teacher's discretion.
5. — It will be noticed that each Step consists of two parts,
(a) and (b). Part (a) deals specially with Time and Rhythm, and
Part (b) with the relationships of Pitch. The study of each of these
salient musical facts is based in each Step upon some composition
MUSICAL APPRECIATION. 5
selected for the purpose,* which thus forms, as it were, the "text" of
the lesson. It is of the utmost importance that the teacher should
make a point of knowing these pieces by heart, so that his whole
attention can be given to the proper carrying-out of the details of the
lessons founded upon them.
6. — Each Rhythmic Exercise has, moreover, a double use ; the
intention is (i) that it should be played to the pupil as a study in
Pulse and Time, (ii) th.it its melody (as indicated on the highest
staff) should be subsequently utilized as an Ear-test, not only in
Time and Rhythm, but also in Pitch, in order to recall and to impress
more deeply the subject of the (b) portion of the previous Step.
7. — As a general rule, the plan of each lesson should be as
follows : —
(i) The pupil should be told to listen to the tune as it is
played by the teacher. (N.B. — In the case of the
Nursery Rhymes in the (b) portion of each Step, the
pupil should learn the tune by rote.)
(ii) The teacher should then help him to bring his
intelligence to bear upon it, and should seek to draw
out from him what he has observed as to its character
and as to the various details of Time, Rhythm, or Pitch,
as the case may be.
(iii) Upon this the teacher should build, and develop the
special matters which the lesson is intended to enforce,
(iv) In order still further to impress upon the pupil's
memory the various points thus learnt from a study of
the tune, Dictation and Sight-singing exercises should
be given as directed. By these means the correlation
of sound with notation is arrived at, and the " thing "
connected with its " symbol."
(v) The home-preparation given to the pupil should aim at
drawing out his power of doing things for himself.
Most children are capable of a certain amount of
original invention, and it will be found that many will,
after a short time, be able to construct little tunes for
themselves, embodying the main points of the preceding
lesson. In such work — which need not absorb much
* In this volume (Part I of the whole work) these have been specially written
with this object in view.
AURAL CULTURE BASED UPON
time or labour — children take the keenest interest, as
they find in it a fresh means of self-expression. Even
the Kindergarten child who, in response to his teacher's
singing of (it may be) a simple fragment of tune such
as the following :—
pipes in his tiny voice — without any thought of the
technicalities of notation, of which at that particular
stage he would know nothing — another fragment
something like this :—
has taken the first step along the desired path, and
experiences a sense of real delight in the consciousness
that he really has " made something " himself. At the
same time he has, without effort or undue labour, learnt
an important fact connected with the musical *' phrase "
which will stand him in good stead later on, when the
more technical part of his work begins. The object,
it need hardly be said, of such constructive work is not
to endeavour to breed a race of composers; such an
idea would be as absurd as it would be utterly
beside the mark. What is aimed at, however, is the
application to music-study of the saner ideas now
gaining ground with reference to the training of the
pupil's powers of observation and imagination by means
of drawing. As Miss Marie Salt well says in her notes
upon " Music and the Young Child " (see Appendix),
" in the drawing lesson of a generation or so ago the
child .... learned to copy .... but could
not originate"; now the ability thus to originate,
however feebly, is beginning to be recognized as lying at
the root of all real and lasting progress in those aspects
of mental development which the use of pencil or brush
is supposed effectively to encourage and to stimulate.
8. — The authors would like here to point out that it is of the
first importance that the teacher should illustrate what he is teaching
MUSICAL APPRECIATION, 1
by means of copious musical examples. It matters not with what
particular fact he may be dealing — it may be the mental effect
of one of the degrees of the scale, the grouping of the pulses
in Triple Time, the employment of a " feminine ending " to a
phrase — whatever it is, an example should be forthcoming, either
original, or carefully chosen from some well-known work. The
ability to extemporize neatly and musically is an asset of incalculable
value in the teacher's equipment; but, even if his power in this
direction be small, or perhaps non-existent, the need for the
appropriate example still remains, and it should be one of his first
aims to gather together, for his own use, an extensive collection
of quotations from standard works with which to drive home, in
the only effective way, that which he is endeavouring to teach.
9. — Reference has already been made to the pieces for "sub-
conscious listening" (see page 3). These pieces have been chosen
with particular reference to their value as a means of developing the
pupil's powers of imagination, and it is suggested that they should
from time to time be played to him by the teacher — without comment
on the technical side — and thus supply the more recreative element in
connexion with the various lessons of the book.
Cordial acknowledgment is here made of valuable help gained
from the writings of the following authors : —
(i) The late Mr. John Curwen, the originator of the Tonic
Sol-fa movement, whose sound educational views
are becoming more and more widely recognized by
musicians, and the main principles of whose teaching
must underlie all effective training in the appreciation
of pitch-relationships. The authors desire to state
here that they have followed out Tonic Sol-fa ideas —
with certain modifications — in the present volume, so
far as it relates to the teaching of these relationships,
(ii) Aime Paris, whose valuable "Time-names" form a most
ingenious and necessary link between sound and notation,
(iii) Airs. J. Spencer Curwen, to whom all interested in the
progress of music in this country owe the warmest debt
of gratitude as one of the foremost and most enlightened
pioneers in the teaching of the young.
8 AURAL CULTURE BASED UPON
(iv) Mr. Tobias Matthay, who, in the authors' opinion, was
the first writer systematically to set forth the true idea
of rhythmic progression in musical performance,
(v) Dr. Yorke Trotter, whose able insistence upon the value
of the " phrase-unit " in all sound musical teaching is
here warmly recognized.
The authors wish to place on record, moreover, the valuable
work done in the cause of musical education by Mons. Jaques-
Dalcroze, whose system of Rhythmic Gymnastics has been referred to
on several occasions in the following pages ; by Mona. Mathis Lusty,
the author of important works in the French language on the subject
of Rhythm ; and by Dr. W. G. McNaught, whose wide experience
in all matters relating to Ear-training and Sight-singing is so well
known and so rightly esteemed.
Finally, the thanks of the authors are duo to Messrs. Curwen &
Sons for their courtesy in according permission for the use in this
volume of the Tonic Sol-fa Hand-signs.
%* Important Note to the Teacher as to the use of the Rhythmic
Exercises.
Each Rhythmic Exercise in this Part of the work should be
played to the pupil in its entirety as the first stage of the lesson,
the melody on the highest staff being for the moment disregarded.
After the development of the lesson, as set forth in the letterpress
dealing with the (a) portion of each Step, the final stages should
invariably be (i) the learning by the pupil of the tune of the
Rhythmic Exercise (which he has already written down from
dictation), and (ii) the singing of the same to his own beating of the
time (or marching), while the teacher plays the accompaniment
MUSICAL APPRECIATION.
PART I.
STEP I (a). Rhythmic Exercise, No. 1.* E. E.
NOTE. — The lessons in connexion with this and succeeding Exercises will be
found on page 33 and on subsequent pages.
Moderate, nlla marcia.
Introduction
of the
idea of Pulse.
Other pieces useful as Bhythmic Exercises at this stage are : —
(1) Soldiers' Chorus from " Faust " GOUNOD.
(2) Bridal March from " Lohengrin " WAONEB.
(3) March from the Occasional Overture HANDEL.
4) March from the Concertstiick WEBER.
5) March of the Merionethshire Men (No. 100 in HADOW'S " Songs of the British
Islands." Curwen & Sons.)
(6) Old English Melody, " Heart of Oak" (No. 56 in " Songs of the British Islands ").
* The melody on the upper staff of this Exercise is not intended in the first place to be sung by
the pupil. It may, however, be utilized as an alternative Dictation test in connexion with Step II (a).
10
AURAL CULTURE BASED UPON
STEP I (b). Little Boy Blue.
Moderate. mf _« ====
Introduction Q-g
E. R.
Doh
of
soh
10) '
Little boy blue, come blow up your horn
(Trumpet. J
Terras
•^- -0- P ATrnrn
(Trumpet.)
?
* *• *
j j J
m
^
=1J| J J^ J*J* J j
(Echo.)
The sheep's i n tho meadow, the cow's in the corn;.
B
E
(Trumpet.)
/'
^P=
tranyuillo.
^=^J
^
9^^5
Where is the boy that looks af - ter the sheep ? Un - dor the hay-cock
Ped. * ped. « Ped. * Ped. #
Pod.
n
fast
a - sleep.
L.H.
-E
* An easier alternative tt^e will be found on page 103.
MUSICAL APPRECIATION.
11
STEP II (a). Rhythmic Exercise, No. 2.
Moderate maestoso. •$
E. E.
Introduction ~y~n
~t Ji. _
of
Duple Time.
Fed.
3=*
T~T^
*
i ;•;
*^r w V •
Other tunes in Duple Time useful as Ehythmio Exercises at this stage are : —
1} " The Keel Eow " (Songs of the British Islands, No. 25).
2) " The Little Man " (No. 12 of Nursery Rhymes edited by Moffat and Kidson).
3) " Hot Cross Buns " (No. 53 „ „ „ ).
* The voice-part of this Rhythmic Exercise should not be used until required as a Dictation
Exercise as explained on page 40.
12
AURAL CULTURE BASED UPON
STEP II (b). Baa, baa, Black Sheep.*
Introduction
of
Upper Dob.
Moderate.
doh1
•
soh
•
doh
t\p
Z '
E. E.
5
ft ±
3*=^
"
m m
Baa, baa, Black Sheep, have you a - ny wool?
f>
=t
J
Yes, sir,
yea,
sir, three bags
fuU:
^L
I
s
m
One for the mas - - tor, and one for the dame,
And
1
r~T^r
&
r
j=3-ji
rail.
A
f t S J
^ J J ' .J.
one
A
for the lit • tie boy that lives down our lane.
* An easier alternative tune will be found on page 104.
MUSICAL APPRECIATION.
STEP III (a). Rhythmic Exercise, No. 3.
Moderatn marcato.
Introduction
of
Triple Time.
E. R.
^^
Mnderato marcato.
:g=r-
3
i
iHH
f i £r
i-
"
i^J
3
^j=2
^
-0-1-
m
n
y
Y
J Jlr J .'lr
poco rit.
I
i
1^
*
poco nt.
/•
?
Other tunes useful as Ehythmic Exercises at this stage are : —
(1) Sir Koger de Coverley Old English Tune.
(2) Minuet in E|? (Marches and Dances, "Rhythmic Series."
Boosey & Co.) BOCCHKRIKI.
(3) Minuet in P (Marches and Dances, " Rhythmic Series") ... MOZART.
(4) God save the King ... Dr. JOHN BULL.
* The melody to be used as a dictation test. (See note to Rhythmic Exercise, No. 2.)
14
AURAL CULTURE BASED UPON
STEP III (b).
Hush-a-by, Baby.'
E. R.
of Me.
(flY^~H =
'
Cant ant
doh1
soh
me
doh
to. - => ^ ,
Jtfyfr fi ""
-iH sH —
|
,
Opp una corda.
~ -
^ 1
{jQ+Zlt
i i «r r "Ji
1 d r- d—
1 d — h =1-
fe±
J. Jjjrn
^
Hush - a - by, Ba - by, on the tree top,
When the wind blows the era- die will rock ; When the bough breaks the era - die will fall,
Down will come ba - by, era - die and all.
m
-I . W — I-
fc2
*M9— ^ * Sp In -^
*»/M/I /»nr///r
uwa corda.
rtV.
"P"
bp- •
* An easier alternative tun<5 will be found on page 105
MUSICAL APPRECIATION.
15
STEP IV (a). Rhythmic Exercise, No. 4.
Andante.
E. B.
Introduction Q _, fr
of Quadruple
Time.
legato. J^J -4 J I
. ,<• *.*j4,r-5-M
J Jir r r r i j j J^TTJT^TTJJ
)
-
1 h» -g-
"1 1 ^
b
^
r F" "Ped. *
Other tunes useful as Ehythmic exercises at this stage are : —
(1) " Men of Harlech " (Songs of the British Islands, No. 32).
(2) Soldiers' Chorus from " Faust " ... GOUNOD.
(3) March from the Concertstiick ... ... WEBEB.
* The melody from this point is intended to be used as a dictation exercise and then sung as a march.
16
AURAL CULTURE BASED UPON
STEP IV (b). Who killed Cock Robin?*
E. R.
Introduction
of Te.
Marcia Funebre; Largo.
doh1
te
soh
me
doh
/>
Who kill'd Cock Robin ? Who kill'd Cock Robin ?
Marcia Funebre; Laryo.
r JN p-pc rH^-Jv^
£
I, said the spar-row, with my bow and ar - row, I killed Cock Rob -in.
* An easier alternative tune will be found on page 106.
MUSICAL APPRECIATION.
17
STEP V (a). Rhythmic Exercise No. 5.
E. E.
Introduction
of Two-pulse
sound.
Andante maeatow.
/
Andante maestoso.
_/:
1? 2 Q
¥
1=
S
?=3
- >marcato la
JS(. melodia.
±t
r^r
e
i
^
F
^
i^
T
r
V
±t
3
^
^
r
^
r
V
Fed.
18
AURAL CULTURE BASED UPON
STEP V (b). Bye, Baby Bunting.*
Andante moderato.
E. E.
Introduction
of Bay.
dohi
te
soh
me
ray
doh
F>-
J ' ir J J=g
Bye, Ba - by Bunt - ing,
Dad - dy's gone a
tD
. ^ a.-^f- -?• -** ^&?
P
-f -
Ped. * "^ S simile.
Ped. »
get a lit - tie rab - bit's skin, To
wrap Ba - by Bunt - ing in, Bye, Ba- by Bunt - ing.
r
* An .easier alternative tune will be found on page 107.
MUSICAL APPRECIATION.
19
STEP VI (a). Rhythmic Exercise, No. 6.
E. R
Moderato.
ntroauction
of Three-
TTT^- i — 1 1
ulse sound.
W — 4-^j ^-^ ^ ^-- ^—
Moderato. With strongly marked accents. A ? >
V ffjt fl — — 1 — 1 —
fe 4 — ;E3 — ' — — ^ — : — — d — : —
^} ^=4- • zar"i -^— S« m~»
y-g- • ^ KL"P
/w\« *t 'i i i
^; % ^ — f2 • 1 1 — d 1 1 1 1
^•^ ff 4- — ! 1 1 =1 — ^ — ^ d 1 1 1 1 — ~t~
•
— I J ' -^ — ^: — ^-L- ** — "— ^ — * — .j. i — J. 4
(This bass part may be played in 8ves, if preferred, as far as the X).
P^
^ 5 x- ^
# — ^J
_^_ ^_ _^_ _p_
,^-| • cJ • \ 1
^>
S~
-^ V >• >
— --. • ^ -~—l* ^
..£
"^ — — ry^' — |^ P —
\ *J ~*~
— P — *$p — ' — ^l y1^ *_, £2^1' jp — ' — | vcJ. 1 — ' — ' cJ' 1 1 '
: ** _ '
f /A^fl &
1 1 ^ ^"
(•"'* **>
. 1 J p f ^—
1 EEs — h
_^ 1 1 1 1 (— ^ * ^
4
1 ^ ^ t^ ^ ^ J
D**^
^ -^ ^^
i/ ^ i.
1
XT' J
I
^£B — ~~ — ^
^"^ — — ?j — • —
t/ -~>
" „ "^~~^ J^x P--^--
y/ fffl
— kt^ — T — h* — ^* — r — b& — ^ — I?* —
($) 5
4-^ H — — g- — ^S~ — * — — K —
^
-(22. . -£2_ . H^" *
1 In — P i I r~l — — rl 1
(<•). s,i j
_^j j r r r ^
C 1_| 1 1 1 1 1
X
n<J "^
y »j.
I J_ f±i_ : j
<_/ ~>
> > f)
> >
-jHk — •
— b I _ i-u^ J i I .... _. .1 A'- pj • [j
m — -*
. ...f...- •k.A-pn *^ f » § : = g : H
tx
"•***" 1 """""••». ^*" \ "* — ^^^^"^
/•
••"" *f ~~** "^ %)
f
TS — f — F~T|- — F — r 1 — r — ^~: — fl
1 — L_
jf 1 ' ^P— J — i — j— J — T — p= — II
•p^^"*" . —
20
AURAL CULTURE BASED UPON
STEP
Introducti
of Fah
VI
on
(b). The North Wind doth blow.* B. R
Andante. __^_K____— — _->. 9 ->.
^ ttj^7"/-
1 1 d ^ E ^- -W- -=J-
The North Wind doth blow and we shall have
Andante.
0 B, /% 1 1 1 1 1 1 •
doh1
te
soh
fah
me
ray
doh
<qr*4
--rsl" — »
mf
1 ' Lgj. . ' Lsj. • —5- "I—1
13 : «• T^ r
i i l
/w\« 5 i%
PvJ **Jf ' * f*
2 • f^ J
^-"- — *r t||
1 <rL- • i ! c? fi J
5
fe * 'P"d-' *
7f~ #~
— i i ll J i 1 d 1
— J-
snow, And
Jr 4t 1
1 J J • ' J J J ' ^J
wbat will the rob - in do then, poor thing :
r~r TT~: ^> i "T — mf^\ & — i~n
p* H •
_j_ _ip_ _c_
pj -J» -^- -d- -t
ere*. ^J. I J
Eg J — ^ *~~&~~' "g •
: • ^- •£ • i=r •
Fed.
l>K-tt«
&-^=^
Sit in a
barn and
^^^
keep him - self
warm, And
-^» **~~~*
^^c*
- - -
>
Jf ^tt ^ — — • |l*l —
^i
— ~j | 1
6^——^ g 1 g M1I P
— Pi * 1
^ M
— ^ *
^ * — F — l — F LJ j — u^
L— h=n J: — '
^gf 3t *~
^JJs^1 ~%T~
1^
? 1
^L^ -+-
i i
— - —
i
fcd ^_
— ^ —
gJ .
i 1
JMHJO
3;
^^
5
hide his head un - der his wing, poor thing. ^
/-^r
i4:
poco rit,~
r ^
Fed.
Fed.
Fed. *
An easier alternative tune will be found on page 108.
MUSICAL APPRECIATION.
21
STEP VII (a). Rhythmic Exercise, No. 7.
E. B.
Moderate alia mar da.
Introduction
of the
Four-pulse
sound.
Moderate alia marcia.
h""l>4
i
r
*3&
m
Sl»b 1
i^
3 5
rfrH — ^ 1
1 H
(fo^b ••
(>PJ
i n
3
r/i'
M.
0
i j
>
>
i/ u b j c^
. — feJ — H — •
-^ •-
• — ^
fft\"ft \) L — |
-b«^H — J — *
^;
~~^=~^~^
v-4,/ ^ fi ^-^
4W P3 £
_f>
s "'f^'
i Cl^
er
r
-*-. "F
1 </r?/z. t
r
^___ — i — , — | — j^
i ^
i
^
— ,
= f-n
e^-^ J • H
-^-^ J
. i r ' 1
Fed.
22
AURAL CULTURE BASED UPON
STEP VII (b). Old Abram Brown.*
Andante serioso.
Introduction
E. R.
of
doh'
te
lah
fah
ray
doh
:m/z
j -- H
m^
3
Old A - bram Brown is dead and gone, You'll
Andante serioso.
E£ -r-
— 1 j —
^ ^ ~_ _
^p^ =
nev - er see him
o ~i ~
o< • — J
more. He
i r r r r =<
used to wear a
£ — — — -J-
F J -f» — *-J -h-
>. ^ ll 1 J i 1
$ JJ /V J
^0
— ~3^ ^^ .J* g g g '
I « « 85 ^J
1 1 1
(555 i
J
&: J
-. — »--H — J —
— 4-
^^
long brown coat That but - ton'd down bo - fore,
^
1C:
J J J J-
Down,
down,
--
but - toned down be - fore.
i. j j^fejirj. J* ^5-^3--
5t # ^X^ 55 $ *:Jf
^
* An alternative tune will be found on page 109.
MUSICAL APPRECIATION.
23
STEP VIII (a). Rhythmic Exercise, No. 8.
Allegretto grazioso.
E. E.
Introduction
of sounds
lasting for
more than
one bar.
tj. IjjJIJ.
^
ores.
Allegretto grazioso.
Fed.
Fed.
:zr
J J |J J|
Q * * ^j J-
AURAL CULTURE BASED UPON
STEP VIII (b).
Little Miss Muffet.
E. B.
Introductioo
of the
complete
Scale.
Moderate, with well-marked time.
5
doh'
te
lah
soh
fah
me
ray
doh
T*-"*±/ 1 1_-«"0«« I I I.
*i f i , , Z3 — i — ii i »
± j jlj j I.1 J JTT3 N J 3|p r
Little Miss Muffet, Sat on a tuf-fet, Eat-ing some curds and whey
Moderate, with well-marked time.
m
.«„
•P
jj
* *
-
j
Ped-
>J. U J J I.J
Eat-ing some curds and whey, There
»*»ft£l-i« Jl
£*>*
jj j ju j j
^
camera big spi-der And sat down be-side her, And frightened Miss Muf-fet a - way,.
g
^vjul
^
r1 — -f f-
dim.
^1
frightened Miss Muf- fet a - way.
»
>' KJ rttf
r^y
i
dim. e rit.
r"
N.B. — A simplified accompaniment to this song will be found on page 110.
MUSICAL APPRECIATION.
25
STEP IX (a). Rhythmic Exercise, No. 9.
Alia marcia.
'-47- A \^
Vb4 J
E. E.
Introduction
of
Syncopation.
J J 1
&
vl//a marcia.
P§
J I J -I . J
m
1*
T-
Ped
T
Fed.
rirr fir Mi
§
^
a
3:
H* *-
F ' do
I
Ped.
Ped.
Fed.
J
I
£
T
-^"1
sostenuto.
v ' 'a =t==:1
Ped. * T*
Fed.
* Ped.
r TTT
Spsp
H 1— P-
r — -
1 -V -l V
Ped. *
i. * Ped.
Ped.
Ped.
26 AURAL CULTURE BASED UPON
IX (b). As Tommy was walking.
E. ii.
Introduction
of the three
Primary
Triads.
3=5
^m
As Tom-my was walk-ing one fine sum - mer day, Some cher- ry - cheeked
Moderate. -
"T*
Fed. * Fed. * Fed. * Fed. * Fed.
N.B. — A simplified accompaniment to this song will be found on page 111.
MUSICAL APPRECIATION.
27
STEP X (a). Rhythmic Exercise, No. 10. B. E
Allegretto. •> ^^ > ;
Introduction
of the
Half-pulse
sound.
Ar— 2 Jp") 'i — i °i— "i Art -~i
-J- "5 ,"* -4 J. -4 -4 -* -*-* -Pi
r ?''?? ^ ^ 4^? ^1 »^ri^
il 'LjI'E.r LJ1" g
leggiero.
i
fo ., '. g it\ i-t-t
r^-9-1} [^ 9 W & y • — ^ I* i
Fed.
* Fed.
28
AURAL CULTURE BASED UPON
STEP X (b). One Misty, Moisty Morning.
Introduction
of sounds Allcyro moderate.
below Doh.
E. E.
doh1
te
lah
soh
fah
me
ray
doh
te,
lah,
sohi
^
3E
One misty, mois-ty morn-ing, When cloudy was the wea - ther, There I met an
Allegro moderate. •=>.
Sfc
ism
m/
3
^U
4
j j
^
^ y
old man, Cloth- ed all in lea - ther, cloth -ed all in lea - ther. With
h
J
r
j
cap un - der his chin,
Howd'youdo, howd'youdo, howd'youdo? a-
- gain, One mis-ty, mois-ty, mis-ty, mois-ty, mis-ty, mois-ty morn - ing.
Fed.
« Fed
MUSICAL APPRECIATION.
STEP XI (a). Rhythmic Exercise, No. 11.
Introduction
of the
One-and-a-half
pulse sound.
Maestoso, ten. ten.
E. R.
5
i. icn. ten. 5 - ^ ,.
1/f .
Maestoso.
With well-marked accents.
h » . h ^u
J A- J 'AT
5*=
K
a
rnll.
f r r
1 ^ I
P
iJ lid:
B-
1
r
30
AURAL CULTURE BASED UPON
STEP XI (b). When Little Fred.
Introduction
E. R.
of sounds
below Doh.
A llegretto.
doh1
te
lah
soh
fah
me
When lit-tleFredwascall'dtobed,He always act-ed right, Hekiss'd mam-
feSE&^^p=:
*=*-1zik?p^i»>'t>.>-J»J»
'V*«»->^W
P ttaccato.
-J*J»-J
=£
*
,and then Pa - pa, and wish'd them all good-night, He made no noise like
naughty boys, but gent - ly upstairs, Di - rect - ly went when he was sent, And
poco ri(.
' eostenuto.-
al - ways said his prayers And al - ways said his prayers.
sostenuto.
Fed.
MUSICAL APPRECIATION,
31
STEP XII (a). Rhythmic Exercise, No. 12.
E. E.
Moderate. ores.
Introduction
of One-pulse
rest.
Moderato.
i=p=^
dim.
—i — M
1-
1 1 J~l
•^s
S=
— - j — P — ^—
— —
— !* P * —
~~ \ \"
^ i P
r 1 ^ 1 fl
.
j
1
P
/k P fr — C P 1
— g
P ^ —
id — * — ^
— ^ P *-
-J— c — 33
«) '-'*
^—
1 — •»
.— ^
*
•-» 3
^- *f
-5— s^-1
1
i/
— 1 1-
^ i J
S-fl
— B — SF
^ ^
t* ^
— J — P — * —
KB! P — •
-*
— p — j-
— t — P — =-•
^ « —
— « m —
H
r i
-j—
— P — H
P — H-
^I:~p !
au-p— *-
"L r
32
AURAL CULTURE BASED UPON
STEP XII (b). There were Two Birds.
Andante moderate.
E. R.
Introduction
of One-pulse
rest.
^^-^
There were two birds, sat on a stone, Fa, la, la, la,
Andante moderate. .
) 4 J
m/
atfct
Fed.
Ped.
H F-
do,
One flew a -way, then there was one, Fa, la, la, la,
fl 1?
ff
-g-ty-
m -g
^t
£
Ped' *
~ ~~
-t— — i—
de. The o-therflcw af-ter then there was none, Fa, la, la, la,
3rf±$
f o-+ F-
de, And so the poor stone was left all a-lonc, Fa, la, la, la, de.
Ped. « Ped.
MUSICAL APPRECIATION 33
PART I.
STEP I (a). Pulse Regularity.
THE teacher should play the Rhythmic Exercise, No. 1, while the
pupil listens carefully. The pupil should then be asked to give his
idea of the character of the tune, such questions as the following being
The PuDil's Pu^ ^° ass^s^ nmi ^n stating what he had observed or
idea of the should have observed : " Was the tune joyful or sad ? "
" Did it suggest dancing or marching ? " " Did it make
him want to move his hand or foot ? " etc.
The idea of movement being thus brought to his notice, the teacher
should play a few bars of the Rhythmic Exercise once again, and ask
him to make a movement of the hand or foot to coincide
t? the^ime16 with the rliytlimic swing of the music. It should then
be explained that in making some such movement in
correspondence with the " swing " of the tune, we are keeping time to
the music.
The pupil should now be asked thus to " keep time " by clapping
or marching to the Rhythmic Exercise, as it is played once again, the
teacher playing the tune with well denned pulse and accent.
Realizing now quite clearly that there is movement
of w£e m mus^c' and that it is possible mentally to " grasp " or
"feel" it, and keep time to it, the pupil should try to
discover why it is that he can walk, march, or dance to it. To assist
Effect of an n*m *n nn(^m§ this out for himself, the Rhythmic
irregular Exercise should be played with an irregular pulse, or,
TllllSP
as we say, " out of time," while the pupil should be
asked to walk or march to it. He will at once feel that marching
to music played in this manner is quite impossible ; he can grasp
nothing in it that will correspond to the steps in his marching.
Moreover, he will observe that the tune has now become almost
unrecognizable.
When this experiment has been tried, and contrasted with
marching to music played in the proper way, it will not be difficult
34 AURAL CULTURE BASED UPON
for the pupil to discover that the movement which we feel to be
inherent in the music is, and must be, perfectly regular and even.
The teacher should now tell the pupil that this
regular movement, or throb, is called the Pulse or
Beat, and that it is the basis or foundation of
all musical effect.
Practice in clapping or marching to strongly-marked tunes is of
the utmost importance in training and developing the pupil's sense
of, and sensitiveness to, pulse-regularity. The teacher who deals
with young children should not fail to cultivate this sense assiduously
by giving some practice of this kind as a regular part of every lesson,
particularly in connexion with work in class, where a sort of communal
interest in the matter in hand, of the utmost value to both teacher
and pupil, is at once aroused.*
STEP I (b). Imitation and Memorization of Doh and Soh.
THE song, " Little Boy Blue," should be played straight through while
the pupil listens, t The teacher should then ask a few questions as to
the character of the song, similar to those indicated in
^e Previ°us lesson. This should be followed up by
teaching the pupil to sing the tune by rote. In order to
do this, great care should be taken to get him to imitate the sounds
exactly. The first few notes—
-fcfc
J J
Lit - tie Boy Blue,
should be played or sung slowly by the teacher and immediately
imitated by the pupil ; then similarly the next few notes—
|J
come, blow up your horn,
* Musical progress is impossible unless the pupil has a strong and highly
developed sense of pulse-regularity. This has been realized to the full, as will be seen
in reference to the Appendix, by the author of the system of Ehythmic Movements
carried out first at Streatham Hill High School, and also by Monsieur Jaques-Dalcroze
in his excellent system of Ehythmic Gymnastics.
t In this and succeeding tunes in the (b) portion of every Step the teacher should
sing the melody and play the accompaniment at the same time.
MUSICAL APPRECIATION.
35
Afterwards, these two small sections should be sung consecutively and
repeated until known by heart, the rest of the tune being taught and
learnt in the same way.*
The pupil should now be made to realize clearly that he has
been singing two different sounds, and that the character of each is as
distinct from the other as that of two different persons.
S?easoCunds°f The sounds sunS to the words' ""Little Boy Blue,"
will be readily felt to be strong and firm, and those
sung to "blow up your horn" bright and cheerful. Further, the
effect of these two sounds played one after the other is somewhat
like that of a bugle or horn call, e.g. : —
H
3
3
It should then be explained that these two different sounds are
known by the names Doh and Soh, the strong, firm sound being
called Doh and the bright, cheerful one Soh.
The names
and thair ' ^n exPressive sign of the hand, thus—
Hand-sigrns. with the arm extended in front of the
body, is used to indicate the strong Doh, and another sign, thus—
to indicate Soh, the arm being similarly extended
in front of the body, but held a little higher.
These names Doh and Soh are called
It
5" Sol-fa syllables, and the signs of the hand,
Hand-signs, t
The pupil should now try to discover which sounds in the rest
of the tune can be associated with the syllables Doh and Soh
respectively. This he must do by remembering that the strong, firm
sounds sung to " Little Boy Blue " have been given the name Doh,
and the bright, cheerful sounds sung to "blow up your horn," the
name Soh. He should then sing the tune with the words, making
* In schools where the ideal condition of having both a singing-class and an
aural-training class exists, all the tunes in Step (b) of this part might quite well be learnt
in the singing-class as ordinary songs. This would enable the teacher to attend to
points of voice-production and interpretation in their proper places, and leave more
time for the cultivation of the rhythmic sense and for sight-reading at the aural-training
class. Where there is unfortunately no separate singing-class, the teacher must see
to it that the pupil sings the little songs without effort or strain. Beauty of tone, it
should be remembered, is primarily the result of ease and freedom of production.
* These ingenious and most useful signs were invented by the late John Curwen.
36 AURAL CULTURE BASED UPON
the hand-signs to indicate that he recognizes the sounds he is singing.
The teacher should help him to feel the character of each sound,
by making its particular hand-sign at the same time.
The whole tune should now be sung to the Sol-fa syllables. This
is called " Sol-faing " the tune.
The teacher should next explain that when a sound is made it is
said to be at a certain Pitch, sounds of acute pitch being termed high,
those of grave pitch low. For instance, the strong,
firm sound of Doh is said to be at a lower pitch
than the more acute and cheerful sound Soh above it.
This conventional idea of height and depth as applied
to pitch* is indicated to the eye by the diagram of Doh and
Soh found in the margin. This diagram is known as a
soh
doh
Modulator.
The reverse process to that of naming sounds when they are
heard should now be dealt with, viz., the mental recalling of a
sound upon seeing the symbol or sign that represents it. To recall a
The use of sound in this way implies that \ve are able to hear it
Sight- inwardly, i.e., are able to imagine it; and to prove that
we have imagined it correctly we must sing it. This
not only tests the correctness of our conception of the sound, but
confirms and emphasizes that conception.
The name Sight-singing is given to this side of the training of
the ear, and it is no less important in the development of aural
perception than the recognition of sounds when they are heard.
The teacher should sing or play Doh at some convenient pitch,
and should request the pupil to sing Doh or Soh as
exercises either of these syllables is pointed to on the Modulator.
in Sight- The following are specimens of such Modulator
Exercises. Ths pitch of C, D, E, or F, should be
used for Doh in turn :—
0) doh doh (2) doh doh doh
-- —
soh
(3) doh doh doh doh
* See remarks as to this on page 19 of " Common Sense and Singing," by
John Kennedy. (Joseph Williams, Limited.)
MUSICAL APPRECIATION.
37
The teacher should point to each syllable for the pupil to sing,
and should make him " lead up " to Soh, resting upon it slightly, and
after a short break lead on similarly to the final Doh, giving it a little
more weight or emphasis than was given to the Soh. The relative
amount of weight in this case is indicated thus — and =.*
Each sound should be sung as the result of its own mental effect
being recalled. If the pupil fails thus to recall this effect, the first
(or part of the first) phrase of the tune, "Little Boy Blue"
Association should be thought of or sung. For instance, supposing
the sound, Soh, has been for the moment forgotten, the
thought of the words, " blow up your horn " should at once recall the
sound by association, f
The following tests, written in a horizontal line as shewn
„ ., below, should next be given as Sight-singing
Further Sig-ftt- .'
singing* exercises, exercises : —
Pitch about C, D, E or R
(1) d d d d% 'ssssd (2)dsdss'sddsd
(3)d s s d .s ' s s d s d (4)dsdsss'sddssd
(5) d d d s s s d d s% 'dsdddsssdd (6)ds8S_'dsdd
* In giving Modulator exercises the teacher should endeavour to inculcate from
the very first lesson the essential idea of rhythm. To make a succession of sounds
rhythmical, there must be breaks in their continuity ; and further, sounds must be
felt to be progressing or moving towards these breaks or resting places. With this
idea fixed in his mind, the teacher should have little difficulty in making rhythmical
shapes even with such slight material as the two sounds already considered. The
following are some of the simple forms that would result as a matter of course : —
It will be observed that when a phrase splits up into two parts, by means of a long
note in the middle, the sound of this long note is always Soh, whereas the sound of
the long note at the end is always Doh. (See page 42.) The commas indicate
breathing-places.
t This valuable principle of the association of a particular sound or interval with
a particular tune should be made much of by the teacher in dealing with the question
of pitch, especially when the pupil's ear is dull or undeveloped.
38 AURAL CULTURE BASED UPON
These exercises should be pointed rhythmically (as shewn in con-
nexion with the Modulator exercises on page 36), appropriately thus : —
Ex. 1. Ex. 6.
The fundamental idea of rhthym alluded to above (page 37,
foot-note), viz., that of movement towards a point of rest, is thus again
forcibly illustrated. The authors deprecate most strongly the
unrhythmical way in which Sight- singing studies are often presented,
and they feel that reform in this, as well as in the pointing of
Modulator exercises, is urgently needed in elementary teaching.
The Modulator tests, as well as those just given, should now
be sung to the syllable Lah. This is a most useful
to Lah. exercise, as it compels the pupil to imagine the
character of the sound before singing it, without the
help which comes from the singing of the Sol-fa syllables.
The pupil should prepare the following as homework, in readiness
Preparation for the following lesson :-
for the next (1) Draw the Modulator of Doh, Soh, found in the
1 ^QQOTl
margin on page 36, and sing the tune, "Little
Boy Blue," pointing to the special syllable that indicates
each sound as it is sung.
(2) Sing the tune to the words, making the hand-signs (instead
of pointing to the syllables) to indicate each sound.
(3) Sing the tune to the Sol-fa syllables, pointing to them
on the Modulator.
STEP II (a). Pulse and Accent.— Duple Time.
THE teacher should play the Rhythmic Exercise, No. 2, while the
pupil listens for the pulse or beat. As soon as this has been
grasped, a movement of the hand should be made to indicate it.
Pupil's idea The teacher should now ask the pupil to give his
or the tune, i^eas as ^o ^ne character of the tune (see directions on
page 33), and also to state whether all the pulses seem alike as
regards their strength and weight, or not. A few bars of the tune
should then be played once more with a well-defined accent on
the first beat of each bar, and the pupil requested to tap loudly (or to
MUSICAL APPRECIATION. 39
stamp, or tread heavily, if marching) at the pulses that he thinks are
stronger than the others.
When this idea of accent has been discovered and clearly felt,
the tune should be played again and the pupil directed to make a
downward movement of the arm and hand to indicate
Accent. £ne strong pulse, and a corresponding upward movement
up
2
for the weak pulse — | ^ It should then be explained that this
i ' is called " Beating Time" and it should be
down
pointed out how emphatically the strong pulses impress themselves
upon the mind, with the result that it " grips " them and regards them
as the principal ones in the series, or group, of pulses. Furthermore,
the strong pulses, occurring as they do at regular intervals, produce
similar groups of pulses in regular sequence, each group being called
a bar or measure.
When musical sounds are thus grouped into sets by means of
a regularly recurring strong pulse, they are said to be in a certain
Time, the particular time being determined by the
Explanation number of pulses, from one strong pulse up to (but not
including) the next strong pulse.* For example, in the
Rhythmic Exercise, No. 2, there are two pulses (counting in this
way) from one strong accent to the next, and when the pulses are
thus arranged in groups of two, the time is said to be Duple.
The teacher should then tell the pupil that the strong pulse is
generally known as the accented pulse, or accented beat. Further, it
should be explained that this regular grouping of pulses
fop6 accent1 ^ ^v means °f accent is at the root of all intelligibility in
music, and in order to demonstrate this fact, the pupil
should be asked to listen to the Rhythmic Exercise, No. 2, played
with no accents at all. The tune will, of course, at once be felt
to lose all its clearness, its definiteness and its life,
no Accents ^ becomes vague, loose and meaningless. The mind
has nothing to grasp or take hold of, simply because
there is no intelligible grouping of the pulses into some kind of
order or definite shape.
* The teacher should, however, carefully note that the sound occurring on the
strong pulse of each bar is most frequently to be felt as a point to which the sounds
on the preceding weaker pulse (or pulses) naturally tend. (See groupings in first
musical example on page 40.)
40 AURAL CULTURE BASED UPON
The Rhythmic Exercise should now be used as a test for both
E t t ' Pitch Bad Accent. After establishing the key and fixing
Pitch and the sound of Doh firmly in the pupil's mind, the teacher
Accent. should play the melody in small sections of two notes,
fe — \—
^m
-i — J-
T1^
1 — r-
thus:— /fa r- EE J — r~ =1=1 etc.,
asking the pupil to give their Sol-fa names and afterwards to write
these names down. A pause should be made at the end of each
section in order to give him time to write down the sounds he has heard
When this has been done, the pupil should sing exactly what he has
written, as a series of consecutive sounds without accents, thus :—
ddsdsdsddddddsss, etc.
The teacher should now play or sing the tune slowly, with
well-marked accents, and then ask the pupil to put crosses under the
syllables which his ear tells him are accented, e.g. :—
ddsdsdsd etc.
x x x x
He should then shew him that there are certain resting-places
in the course of the tune, and that it splits up into four
rhythmical periods, or phrases. He should then put a
slur or bracket over each of these to make this clear to the eye, e.g. : —
dsdsd'ddddd
x x x x x
d s d s d ' d d s s s
x x x x x
The tune should then be sung by the pupil, this time with careful
observance of the accents and phrasing. The teacher should remind
him that the notes of each phrase must be felt as leading to, or
progressing towards its final note.* (See note to Step I (b).) In order
to obtain the requisite break at the end of each of these divisions, a
breath should be taken (as indicated by the comma), and this final
note slightly shortened, approximately as at (a) in the following
* The idea of musical sounds progressing towards certain landmarks was
first systematically set forth as the basis of all rhythmic performance by Mr. Tobias
Matthay. The knowledge and recognition of this simple law not only produces
clear rhythmic thinking, and consequently clear and definite expression, but also
assists in developing a perfect control of rhythmic movement.
MUSICAL APPRECIATION. 41
example. On no account must the commencement of the succeeding
phrase be delayed beyond the moment at which it is due :—
i
3S=t
^
etc.
The pupil must be most careful to take breath only at these breaks*
Tunes in Duple time should be frequently played to tht
pupil between his lessons, in order that his perception
Preparation, of pulse and accent may be developed. He should
clap, walk, or beat time, as the music is played to him.
He should also sing the Rhythmic Exercise frequently
observing the accents and rhythmic divisions, taking care
to lead up to the last note in each of these divisions, as
indicated above.
STEP II (b). Imitation and Memorization of Upper Doh.
THE song, " Baa, baa, Black Sheep," should first be played straight
through while the pupil listens, as in Step I (b).
theTtunf Questions on the character and time of the piece should
then be asked, the pupil afterwards learning the tune
by rote, in the same way as in the case of " Little Boy Blue."
When the tune can be sung sufficiently well, the pupil should be
requested to give the Sol-fa names of the sounds of the first eight
bars. On arriving at the ninth bar, he should be told
Naming- the
sounds. to listen carefully, and to say whether he hears any
new sound or not. When this new sound — fa |» ~g g — :etc.
«7 One for the
Character of nas ^een recOgnized, it should be compared with the
Doh and Soh already learnt, and its similarity to
Doh pointed out.f
When this has been thoroughly realized, the teacher should say
that this sound which is so like Doh, is really a replica or a repetition
* In this tune we see the most usual type of phrase, viz., that consisting of four
bars. See Chapters III and IV of " Form in Music." (Stewart Macpherson.)
f This similarity is well shewn by comparing the speaking voice of a woman
with that of a man. The pupil may not have realized that the man speaks at the
pitch of one Doh, while tb« child or woman speaks at the pitch of the Doh above,
i.e., an octave above.
AURAL CULTURE BASED UPON
of it at a higher pitch. The name given to it, therefore, is also Doh ;
Upper Doh ^ufc ^ *s distinguished from the Doh already learnt by
with its
Hand-sign.
being called Upper Doh (written thus, Doh' or d1), the
hand-sign being the same as for Doh, with the difference
that the hand is held higher, a,bout on a level with the head.
The pupil should now name the sounds of the second part of the
tune as it is played, making the hand-signs as he sings the Sol-fa
syllables, as suggested in Step I (b). The complete tune should then
be sung (i) to the words, the pupil and the teacher making the hand-
signs to indicate the various sounds ; (ii) to the Sol-fa syllables
instead of the words.
After this, the pupil should be shewn that the tune contains
four phrases, each of these corresponding to a line of the
Analogy words ; further, that there is no feeling of conclusion
with poetic or finality at the end of any of these phrases, except
construction. the lasfc From thig he win realize that music is
analogous to poetry in that it rhymes ; that Doh is a sound which
produces an effect of finality, or state of complete rest, more especially
if it comes at the end of a phrase and upon an accented beat ; that Soh
is a sound which produces a feeling of expectancy, a desire for
something more to follow, but which at the same time has enough
of the element of rest in it to make a satisfactory finish for the end of
a phrase, although not (as a rule) for the end of the piece ; and finally,
that the mental effect of both Doh and Soh is heightened by the
position in which they are placed in the time-scheme of the piece —
in other words, by their position in the phrase.
Thus we feel Doh to be a sort of " Central " or " Home " sound,
Doh a "Central" because there is always a feeling of incompleteness
or " Home " sound. untji we return to it.
The position of upper Doh should now be shewn as on the
Sight-reading- Modulator found in the margin, and the following
tests. an(j similar tests should be pointed on this
Modulator for the pupil to sing. (See Step I (b), page 36.)
doh1
soh
doh
(1) doh
(2)
doh1
soh soh
doh doh
doh
doh'V/doh1 X / doh1
soh soh\y soh soh
doh doh
doh'\ ^ / doh
soh son\^ysoh
doh doh
doh
MUSICAL APPRECIATION.
The following Sight-singing exercises written in a horizontal line
should also be sung ; first to the Sol-fa syllables, and then to the
syllable La/i throughout. The pitch of Doh should not be in any
case higher than E :—
(1) d s s d1 s
(2) s d d1 s d d1 s d s
(3) d1 s d1 s d
(4) d1 d s s d' ^
s •dsd'tttdd
(5) d s d1 ds. ' 8"« d"
The pupil should observe, in the above exercises, how much stronger and how
much more restful the effect of the Doh sound is when it comes on an
accented beat at the end of a phrase or sentence, and also how much
brighter and stronger the sound Soh is when it occurs similarly on an
accent at the end of a phrase.
(1) Sing the tune " Baa, baa, Black Sheep " from memory,
Preparation pointing to the Sol-fa syllables on the Modulator.
(2) Sol-fa the tune, making the hand-signs, or
pointing on the Modulator.
(3) Construct a few phrases upon the sounds learnt.*
STEP III (a). Pulse and Accent.— Triple Time.
THE Rhythmic Exercise, No. 3, should be played straight through
while the pupil listens. Questions on the tune, relating to
its character should then, as before, be asked, the
the* tun*!' t0 teacner bearing in mind that it is the pupil's idea of
the tune that he must always endeavour to elicit;
therefore, whatever leading questions are put to him should be
directed entirely to this object.
* The pupil should begin by writing four sounds, making two sounds balance,
or rhyme with, two others, e.g. : — d £ ' d d; then six should be taken
d s s ' d1 s d; then eight, d s d1 s ' s d1 s d, and so on.
At present he should make the first phrase always end on Soh, and the second
on Doh, and further should always make the last note of each phrase come on an
accent. This is easily done by repeating any note if necessary. (See page 37 with
reference to the importance of this.)
The teacher should insist that the pupil should sing every phrase he writes, in
order that it may be quite certain that he realizes the sound of what he has written.
His early efforts should be encouragingly, but judiciously, criticized.
44 AURAL CULTURE BASED UPON
It cannot be too carefully remembered that it matters little if the
idea conveyed by the pupil's answer is different from the teacher's
own ; any rigid insistence on words is not only of no value, but is
fatal to the exercise of the child's imagination. Any answer which
shews thought, even if it be not altogether accurate, should be
accepted, at any rate for the moment. It is usually easy for a careful
and sympathetic teacher to bring such an answer more into line with
what he considers the correct description of the music, and the pupil
is encouraged, instead of having his attempts at self-expression
checked and hampered.
The pupil should now be asked to "keep time" to the tune by
clapping or marching. The accented pulse should be listened for,
and a loud clap made to indicate it. The pupil should
the^cents ^ien ^e as^e(^ now manv pulses there are from one
accented pulse to the next ; remembering of course
what was said in Step II as to beginning the counting upon the
accent and continuing up to (but not including) the next accent.
Each accent thus forms the commencement of a new group of pulses.
It will now be discovered that there are three pulses in each
measure or bar, and it should be explained that this kind of
grouping, viz., that formed by accenting one pulse in
every three, is called Triple Time. The method of
beating Triple Time should then be shewn, viz. :—
Method of a downward movement of the hand and
beating- arm to indicate the first or accented
ie* beat; another movement, this time to
the right, to indicate the second ; and an upward movement for the
third or last beat of each bar.
When the pupil can make these movements easily, the teacher
Beating- time should play the Rhythmic Exercise, No. 3, once again,
to the tune. whiie the pupii beats the time.
The teacher should now play the melody only of this Rhythmic
Exercise and request the pupil to write down the Sol-fa names of
these sounds. The method of procedure should be
Ear tests
exactly as in Step II (a), viz., that a few notes should
be played at a time, named by the pupil, and then written down ;
MUSICAL APPRECIATION. 45
the pupil then singing what he has written, afterwards putting
crosses under the accented syllables, as the teacher plays or sings the
tune once more, e.g. : —
s d d 8 d d s d dds's d's s d'ssd'd1 cFis etc.
X X XXX XXX
The phrasing of the tune should now be aimed at by the
discovery of the " resting " or " breathing " places ; and the pupil
should then be directed to add slurs over the syllables of each phrase,
as in Step II (a). Finally, the tune should be sung again, with due
regard both to accent and to phrasing. The teacher should point
out how each phrase except the last, ends on Soli, and so remind the
pupil of the substance of the previous lesson.
The two Rhythmic Exercises should be sung as often as
possible as studies in accent and phrasing. The two
Preparation. Nursery Rhymes already learnt should also be sung
and pointed on the Modulator from time to time.
These tunes should not be forgotten, but should be
considered as studies in memory-singing.
STEP III (b). Imitation and Memorization of Me.
THE teacher should play the song, "Hush-a-by, Baby," and then
ask the pupil to say what time it is in,* and to give his ideas as
to its character. He should also beat time while the song is being
played again.
After this, both words and music should be learnt from
Learning: memory in the manner described in the previous
Steps.
The pupil should now name the sounds to the Sol-fa syllables —
the teacher first playing — ~j?rfr i'"j "i i K and the pupil singing
Naming the 77^ _J^-J_J-_J^J_ tne names, d-d-d d d
sounds. directly after. Then the teacher should ask the pupil
* In this tune the pupil should be made to feel merely that the time is Duple ;
any reference to the fact that it is Compound Duple is unnecessary and undesirable at
this stage.
There is on page 105 an alternative tune in Triple Time introducing Me ; this may
be used instead of " Hush-a-by, Baby," at the discretion of the teacher.
AURAL CULTURE BASED UPON
to listen very carefully to the next few notes— J) , l> f H ! I -
to try and discover the difference between them g*=
and the bright sounds of Soh. When this has been realized, and the
calm, peaceful character of the new sound felt, the name Me, with the
Me with its , j . ,,
Hand-sign. hand-sign, thus-
should be given to
represent it, the hand being held in front of the body, pointing forwards.
The teacher should now play the next few notes quite slowly,
emphasizing the new sound, the pupil singing the Sol-fa names
immediately after, representing them by the hand -signs. The rest of
the tune should be taken in the same manner, and the whole sung
to the Sol-fa syllables in place of the words. The tune should also
be sung to the words while the pupil makes the hand-signs to
represent the sounds he is singing.
doh'
soh
me
doh
The position of Me should be shewn on the Modulator
Sig-ht-sing-ing- as in the margin, when the tune, "Hush-a-by,
Baby," and the following exercises should be
pointed on it for the pupil to sing :—
tests.
(1) doh
soh ' soh
soh
doh
'soh soh\_/soh soh soh \f soh
me me me
(3) doh doh
doh
me
doh
The following and similar Sight-singing tests should next
be given to the pupil, who should sing them first to the Sol-fa
syllables, and afterwards to Lah : —
(1) d a s s n n~*s
(2) d n s s n s £
(3)dddssnddns
(4) s d n s d1 n s d s n s ' B~
' d^
s n
n d
s n s d1 d s rr d
dndsnsd'd
(5) d n d d1 d
MUSICAL APPRECIATION. 47
(1) The tune should be pointed from memory on the
Modulator, the pupil using either the words or the
Preparation. Q
bol-ia syllables.
(2) Phrases should be constructed introducing the new
sound. (See page 43.)
(3) Impromptu tunes should be pointed on the Modulator,
similar to the Sight-singing tests given above.
STEP IV (a). Pulse and Accent— Quadruple Time.
THE Rhythmic Exercise, No. 4, having been played, and the
character of the tune having been described by the pupil, the teacher
should request him to keep time by clapping or marching,
the^unlf an(^ to c^aP l°u(ily or tread heavily at the accented
pulses, as in previous lessons. He should then be
asked to state how many pulses there are from one strong beat
to the next (i.e., how many beats in a bar). When the answer
" four " has been given, the teacher should say that this particular
kind of pulse-grouping produces what is known as
TimeU Quadruple Time, and also should shew the method
of beating it, viz., a downward movement of the hand
and arm for the first beat, one to the left for the second, one to
the right for the third, and an upward movement for the fourth
Method of
Quadruple ^ea^ °f eacn bar, thus—
Time.
When the pupil can make these movements easily, he should
beat time to the tune.
The melody of the Rhythmic Exercise should now be sung or
played by the teacher, the pupil naming the sounds to the Sol-fa
syllables and writing them in his book. The melody
iif^itch. should, as in Steps II and III, be dictated in
small fragments, of either two or four notes, as indicated
by the brackets in the following example : —
1 5 I i II I 5
[ II II il I ,1 7 I i I I
Jlj J J JIJ J J JIJ j J Jg
48 AURAL CULTURE BASED UPOX
and when the whole tune has been written down, thus —
sdndnsns'sdndnndri' etc.
the pupil should sing it from his own copy, without accents.
The teacher should then play or sing the melody again with the
requisite accentuation and ask him to follow what is being sung,
telling him this time to put crosses under the accented
in Accent syllables ; the melody should then be divided into
and Time. sections as below. When this has been done, he
should be requested to sing the tune again with the proper accents
and phrasing :—
X A X / A N
sdndnsns^sdndindn etc.*
xx xx
It should now be explained that this method of placing a cross
under the accented syllables is not the most effective means of making
clear to the eye the length of the various bars or
Bar-fines measures, and that it is customary instead for an
upright line to be drawn immediately be/ore each
accented syllable. These upright lines are called bar-lines and
effectively space out the music into its respective bars or measures.
The pupil should now add a bar-line before each accented syllable of
the tune he has written down, deleting the crosses, thus :—
1
8
d n d n
"1,1
s n • •
d n d n
n d n
The pupil will probably have realized, in the three Rhythmic
Exercises which he has been studying, that every sound is exactly of
the value of one pulse or beat. It should then be
Time-names' explamed that the duration of a sound may be described
and recognized by a special name, just as the pitch of
a sound is. The name Taa (known as a Duration- or Time-name)f
* It should be noticed that the climax of each phrase in the above exercise does
not occur on its last note ; the sounds lead up to the strong accent on the 6th note
and then fall away from it to the final one, thus : —
This will be more fully commented upon later with reference to " feminine endings.'
t These ingenious Time-names, the link between sound and notation, were the
invention of a French writer named Aim6 Paris. The pronunciation of the aa in Taa
is that of the a in " father."
MDS1CAL APPRECIATION. 49
is thus always associated with a sound that lasts for one beat, and
no more.
In order to impress this fact, the teacher should first of all beat
silently a bar or two of quadruple time, and then play or sing the first
two bars of the tune, thus :— J J J=j== _^ J
After having done this, he should direct the pupil to beat time
and to sing these two-bar sections to the Time-names corresponding
to the sounds he has heard. These Time-names should then be
written down and the bar-lines and phrasing-marks added, thus : —
taa
taa taa taa taa
taa taa taa
Each phrase should be taken similarly, and when the Time-
names of the whole of the exercise have been written down, the pupil
should march and beat time, singing the Time-names instead of the
Sol-fa syllables.
The usual notational sign to represent the duration of a Taa (or
Notation one-pulse sound) viz., J or f, should then be shewn.
for Taa This sign (called a crotchet) should be written by
the pupil upon a horizontal line under the Time-name, thus : —
j taa ( taa taa taa taa } taa taa taa
I etc.
r I r r r r I r r~r
the Time-name and its special notational sign thus becoming associated
from the very first.
N.B. — The horizontal line should be written first, and then the crotchets, the
bar-lines afterwards being inserted. The mere practice of writing the
crotchets is of great value to the young pupil, as it fixes the sign in his
memory.
(1) Tunes in Duple, Triple, and Quadruple Time should be
frequently played to the pupil, in order that he may
have practice in Time -recognition, and in beating.
(2) "Little Boy Blue," " Baa, baa, Black Sheep," and
"Hush-a-by, Baby" should be sung frequently, some-
times to the Sol-fa names and sometimes to the words.
50
AURAL CULTURE BASED UPON
STEP IV (b). Imitation and Memorization of Te.
THE song, "Who killed Cock Robin?" should be played through,
the pupil being asked to name its time and to describe the genera,
character of the music, as it appeals to his imagination. The words
Learning1 the and music should then be learnt from memory in
tune« the manner that has been rendered familiar in the
case of previous lessons.
The pupil should now apply the Sol-fa syllables to the various
sounds, the teacher playing or singing the first five notes to Lah, the
pupil naming them, thus : — d n & d1 d1 . The teacher
should then direct him to listen carefully, in order to
discover if in the next few notes that are played he can
hear any other sound besides the four (d n & d1) that he already
knows : —
sounds*
When he has realized the new sound on the second beat of the
third bar of the tune, its peculiar mental effect should be impressed
upon his mind. If the teacher sings or plays the following passage : —
(bar 2) (bar 3) ^
pausing on the C natural, it should be quite easy for the pupil to
feel the keen, piercing character of this particular sound, its
restlessness, and its strong desire for Doh to follow it.*
The name Te should be given to the new sound,
„, -, and the hand -sign associated with it, viz : —
Tne name Te
and its
Hand-sigrn.
the
index -finger pointing upwards with
palm of the hand turned towards
the body, shewn thus :—
* It should be carefully demonstrated by example how much the strong, restful
effect of Doh is emphasized by being preceded by Te, more especially if Doh comes
upon the stronger accent of the two, and near the end of a phrase or other musical
period, e.g.: —
^
f
MUSICAL APPRECIATION.
51
When the remaining sounds of the tune have been named, the
pupil should sing the whole of it to the Sol-fa syllables,
making the hand-signs at the same time. It should
Sol-faing afterwards be sung to Lah, and also to the words, the
hand-signs being made to indicate that the pitch of
each sound is clearly realized as it is sung.
doh1
te
soh
me
•
doh
The Modulator should be drawn as in the margin,
shewing the position of Te just below the upper Doh, and the
teacher should point the tune upon it. The
following and similar tests should also be pointed
for the pupil to sing. (Each exercise should be
sung at a different pitch, Doh not higher than E or F.)
doh1
Sight-
singing.
(1) doh
(2) soh
doh1
me
doh
N.B. — Exercise 2 above will shew that Te can sometimes be used instead of
Soh as a sound to rest upon in the course of an exercise ; * this fact should be
impressed upon the pupil's notice.
The tests given below should be sung as before, both to the
Further Sol-fa syllables and to Lah, great care being taken by
Sight-singing the teacher to insist upon pure and true intonation.
es s* The fact of the sounds moving towards their points of
* The teacher will, of course, realize that the fact of Te being possible as the last
note of any announcing phrase, is accounted for by its position as one of the three
sounds of the Dominant Triad — the final chord in an Imperfect (or Half)
Cadence, e.g.: —
& i -ii
52
AURAL CULTURE BASED UPON
support or repose should be kept prominently before the pupil's
mind : —
(1) d n s n s
' 1
(2) d n s d1 d1 n £ ' sd' s n
(3) n d n s d' d1
(4) s t d1 d n s
' 1
d1 s s n
sn d1
(5) d1 t d1 n s n ^ ' s t d1 n s
(6) d1 d1 t t s s i ' d' d1 t t d1 s 1
Other tests of a similar nature should be written for him to sing, first
to the Sol-fa syllables and afterwards to Lah.
For the present it is very desirable that the exercises should
invariably be constructed upon the above plan, viz., that of an
announcing phrase followed by a responsive one. The last sound oj
each phrase should, for the present, always fall upon a strong accent.
PPOD&P&tiOD
(1) The pupil should prepare the song, "Who killed Cock
Robin ? " and point it on the Modulator from memory,
using at various times both the Sol-fa syllables and
the words.
(2) He should also construct little phrases * of his own, using
all the sounds he has learnt. He should bear in mind
that, as was stated above, Te can be used as the note
to rest upon in the middle of the phrase just as
well as Soh.
The following are Models : —
(a) d n £ ' s t d1
(3) Impromptu tunes similar to the above should be pointed
on the Modulator.
* These original phrases should always be sung by the pupil, and Sol-fa syllables used.
MUSICAL APPRECIATION. 53
STEP V (a). Duple Time.— Two-pulse Sound.
THE Rhythmic Exercise, No. 5, should be played through in the usual
Listening to way, and questions should be asked similar to those in
the tune. ^G previous lessons.
The first four (or eight) bars of the melody should then be
sung by the teacher, the pupil beating the time ; following this
the pupil should sing the same passage while the
Two -pulse teacher beats the time. As the result of this
sound.
proceeding the fact that each sound lasts for two
pulses should be realized without difficulty.
To impress this fact still further upon his attention he should be
directed to march, making one step to every pulse, at the same time
P act'ce on clapping once in every two steps. He thus indicates the
the two-pulse pulses with his feet and the note-values* with his
sound. hand. The reverse of this should also be practised,
viz., the claps indicating the beats and the steps the note-values, f
The teacher should now sing or play the melody only of tne
Rhythmic Exercise, the pupil naming the sounds to the Sol-fa
E te t • syllables and writing them in his book. Directions
Pitch and should be given that the syllables should be written a
Time- little distance apart, thus : — d1 t d1 s etc.
Bar-lines should afterwards be placed before the accented syllables,
thus : — d1 t |d' |s and the method of indicating that
each sound lasts for the value of two beats should be shewn by means
of dots in the middle of each bar, thus : — d' ' t : d1 :
(by which it is divided into two spaces, one for each pulse). A horizontal
line should be added in each of the blank spaces, to indicate that the
sound is continued through this pulse : d '•— |t :— d1 :—
: — I etc.
* The term "note- value" is used merely to indicate the duration of a sound
without reference to its pitch.
t The difficulty that children, and even adults, experience in maintaining
regularity of pulse as they sing or play sounds of longer or shorter duration is a real
one, and the teacher is advised to give much practice on the lines suggested above.
54 AURAL CULTURE BASED UPON
When all this has been accomplished, the pupil should phrase
the Rhythmic Exercise as below : —
:- t :- d' :- s :- d' :- t :- a1 :- d :-
d :- |n :- |d :- |s :- |t
and afterwards sing it. As each pulse is sung, he should point to it
(pointing the pulses therefore, instead of beating them) ; this is a most
useful exercise.
The special name by which the duration of a two-pulse sound is
recognized is Taa aa, the consonant of the second Taa being dropped
to shew that this first sound is continued, and not
name^aa aa sounded afresh at the second beat. It should be
explained that, as the notational sign for Taa (or
one-pulse sound) is J or f , it is possible to tie two one-pulse signs
together, thus : — J J, to represent a two-pulse sound. There is,
moreover, a special sign for this, viz., J or j0, called a minim.
The pupil should now write the time-names of all the sounds in
the Rhythmic Exercise, and then write their notational signs upon a
line underneath, e.g. :—
Writing the — — i — — i
time-names of Itaa :aa Itaa :aa |taa:aa |taa :aa |taa :aa |taa :aa Itaa :aa |taa :aa|
the Rhythmic
r-h— tr-lrH
etc.
r — n
The method of dictating and writing down the above will be found
set forth on page 49. The teacher should dictate two or four bars
at a time, at his own discretion.
The following and similar tests should be played to the pupil, in
D'ctation tests • orc^er to &iye n^m Practice m the recognition of the
Duration. different sound-lengths and their corresponding signs.
(1) xrs ^ /ts /*
Time, i r i r i r r
(2)
Triple 1 1 1
IT I
/
r r rr
r r r i
-*\* * »\» -\
Time, ir r r ir rir r
(3) ^
Quadruple 1 1 _
ir r
r f r i
ir r nr i H
3 o T. * - H
Time. If3 f T If* T
r r
P r r
^ i If r r II
MUSICAL APPRECIATION . 55
In dictating any of the above or similar passages the whole
phrase should be played through first, to enable the pupil to
discover the speed of the pulses, and the land of
^dictation Time- After this has been done ifc should be played
again in fragments (as indicated by the pauses).
The pupil should begin to beat immediately at the close of each
fragment so dictated, saying the time-names of the sounds he has
heard. The signs for these should then be written down and the bar
lines added to shew the position of the strong accents. After any
one of these passages has been written in the manner shewn above
the pupil should —
(1) Tap the note- values and monotone the time-names.
(2) Count the time and tap the note-values.
(3) Beat the time and sing the note-values to Lah.
The following passages may be regarded as specimens of Sight-
singing exercises, to which the teacher may add others of his own.
Sight- Each of these may be treated in the three ways
singing : indicated above :—
Duration.
(1) Practise writing two-pulse measures in Sol-fa notation,
Preparation. e-9- '•'
etc.
(2) Practise writing crotchets and minims, e.g. : —
j j - d J
(3) Invent time-exercises in Duple time, always using the
minim to indicate the end of a phrase, e.g. : —
J J J J J I! etc.
56 AUH.iL CULTURE BASED UPON
STEP V (b). Imitation and Memorization of Ray.
THE song, " Bye, Baby Bunting," should be played straight through
in the usual way ; its gentle swing, as well as its soft peacefulness,
should appeal to the pupil, and he should be shewn
the tune. that ^ ^s built-up of four phrases, with an extension of
two bars at the end, to enable the first word to be
repeated. The effect produced by the fact of the last melody-note
being Soh, and not the usual Doh, should also be specially referred
to, and the pupil should beat time as the song is played once more.
It should then be learnt by heart, in the manner indicated in
previous Steps.
The teacher should next tell the pupil that there is a new sound
amongst those that he has been singing, and that he must try to
The new discover it, and realize its character. To help him
sound, Ray. jn the discovery of this sound the following passage
should first be played —
the pupil naming them d n n s ; then the question : Which of the
four succeeding sounds is the new one ? should be put :—
^^&
3
The answer being forthcoming, the teacher should explain that the
character of this sound is not so definite as the character of those
already learnt ; further, that it varies very much according to the
way in which it is approached and quitted. For example, the mental
effect or character of this sound in the first four notes of the tune
is somewhat supplicatory or prayerful, but approached from upper
Doh, as in the last bar but one, the effect is more pleading or
persuasive.*
* In the "School Music Teacher," by Evans and McNaught, the following
expressive phrase is used to emphasize the mental effect when Ray is approached
from upper Doh.
$*^
•7 >^
0
^
dot
=£=
please
; do.
MUSICAL APPRECIATION.
57
The name Ray should be given to the new sound and the
hand-sign for it shewn, thus :—
directly in front
Ray and its
Hand-sign.
the arm being extended
of the body, as before.
The teacher should then play or sing the tune in small sections and
should request the pupil to give the Sol-fa name of each sound, with
its particular hand-sign. The tune should then be sung straight
through to the Sol-fa syllables, and also to Lah, the hand-sign for
each sound being made by the teacher and pupil.
doh1
te
soh
me
doh
The position of Ray, midway between Doh and Me,
should now be shewn on the Modulator
Sight-
singing.
as in the margin, and the pupil should
Sol-fa the tune " Bye, Baby Bunting," to the
teacher's pointing.
The following, among other tests, should also be pointed for the
pupil to sing : —
(1) doh
doh
(2) doh
doh
(3) doh7
doh'
te
soh
me
pay
soh
me
ray
doh
N.B. — The pupil's attention should be drawn to the fact that Bay, like Soh and
Te, can be used as a subsidiary point of rest or repose.* Like Te, it is also very
expectant of Doh, if it happens to be the last note but one of a phrase, or other
musical period.
• See example in footnote on page 51, for the harmonic reason of this.
58
AURAL CULTURE BASED UPON
The pupil should also sing the following and similar tests, using
both Sol-fa syllables and also Lah throughout :—
(a)
(1) d n s n
r n s n d
(2)d r n s d n s ' n r n s n
(3)nnrddr n s n
n sd'srtrnrd
(4) d1 t d' s n s r. r n s d' n r d_
(b)
:r n
n :r I d :—
(2) :d d :r n :r Id :n r :r
n :s
d1 :d
n :r
(8) (Id :r In :s Id1 :n Is :-' |'i :n |r :n Is :r Id :-'|
(1) Sol-fa the tune, " Bye, Baby Bunting," from memory,
Preparation pointing to the syllables on the Modulator ; afterwards
Sol-fa the tune, making the hand-signs.
(2) Construct short tunes upon the lines suggested in
the previous steps. The first phrase, it should be
remembered, can end on either Soh, Te or Ray. The
following are examples :—
(1) d r n £ ' n ^ n~~^A_
(2) n s n d
n s d r d
(D (I
(3) d' t d' s n d' t. ' d' s n s n r d_
(3) Fill up the following bars in such a way as to form little
melodious phrases. Write in Sol-fa notation, and take
care that the last note of each phrase is a long one
(two beats) :—
^"T^ n « {i'~~'~T~rT~;=! ii
(3) (I
(*>(!
* The following are some of the ways in which these bars may be filled up : —
In :s
d :-
:n
8 :t
:n
The pupil should always sing the tunes that he writes.
MUSICAL APPRECIATION. 59
STEP VI (a). Triple Time.— Three-pulse Sound.— The
One-line Staff.
THE Rhythmic Exercise, No. 6, should be played through, as
Listening- to in the previous steps, the pupil beating the time
the tune and ,. ,, . , , . -, .,
beating time, directly he has recognized it.
The teacher should then assist him in discovering the three-
pulse sound in the same way as in the case of that of two pulses,
viz. — the first few notes of the melody should first
pufse^ound be sun& or Playecl while the pupil beats the time,
and then the pupil should sing these same notes,
while the teacher beats the time.
The three-pulse sound having been realized, practice should be
given, as before, in clapping the note- values and stepping the
P ct'ee on Pulses (*"•&» making three steps to each clap). This
the three- should then be reversed : the pupil clapping the
pulse sound. pulses an(j stepping the note-values (see page 53). Other
movements on the same principle should be invented by both
teacher and pupil, as such practice is of material help in overcoming
the difficulty of doing two things at the same time, viz., maintaining
a regular pulse while singing sounds whose duration is longer
or shorter than the pulse.
The melody of the Rhythmic Exercise should now be written
down in Sol-fa, directions being given for the syllables to be
E test- spaced-out thus:— d s d r
Pitch and Bar-lines should then be placed before each accented
Time- syllable, thus :- | * • d r
and the teacher should explain how the three-pulse sound is indicated
in writing, by dividing the bar up into three parts by means of dots —
d : : s : : d : : r : : and writing a horizontal line in
each of the blank spaces to shew that the sound is to be continued
through these pulses, e.g.: — d :— :— a :— :— d :— :— r :— :— etc.
When the pupil has written the whole of the Rhythmic Exercise
in this way he should phrase it, and then sing it, pointing to each
syllable (see page 54).
60 AURAL CULTURE BASED UPON
The time-name, Taa aa aa, should now be given to the three-
pulse sound, and the method of writing it shewn ; first, as three
The time- one-pulse sounds tied together, thus — J J J ; then
name : as a two-pulse and a one-pulse sound similarly tied,
i aa aa. t|lus — j j . an(j iastiV) as a dotted minim, thus — J .
When this has been done, the pupil should write the time-names of
the sounds in the Rhythmic Exercise (or part of it), with their
corresponding notational signs on the line below, e.g. :—
jtaa :aa :aa jtaa :aa :aa jtaa :aa :aa jtaa :aa :aa j
The following and similar tests should be dictated by the teacher
Dictation tests: an(^ written down by the pupil. (See page 55 for
Duration. directions.)
(1) Duple.
Triple, ^-jp-p-j-js.
(3) Quadruple. UE? p—jp—L^--— *-[-,»— * — *—j»-Us» &— |j
The following and similar tests should be sung (and also tapped)
Sight-singing- : in the three ways indicated on page 55 : —
Duration.
The teacher should now tell the pupil that instead of using
Relative pitch Sol-fa syllables we can indicate the relative pitch
means of °^ sounds by notes, i.e., note- values placed upon, above,
notes. or below a line, e.g. :—
MUSICAL APPRECIATION.
61
(1) If the syllable Doh is placed on a line, all notes so
written on this line represent the pitch of Doh, thus —
h<» — » — *-
I I I
I
(2) If the syllable Doh is placed above a line, all notes so
written above this line represent the pitch of Doh, thus —
oca.
f-f-rtr
(3) If the syllable Doh is placed below a line, all notes so
written below this line represent the pitch of Doh, thus—
DOH
J - J - *
Further, if the position of Doh is fixed on a line, Ray will be
Position of found immediately above it, e.g.: — —DOH— HA*— , and if
relation tne P0^^011 °f Doh *s nxec^ below a line, Ray will
to Doh. similarly be found on the line above — — DOR— RAY— .
The following examples will further elucidate this : —
(a) — DOH — r— *-
on the line. ' I
(b) DOH — r-*
Ray above the i line.
j . J .
below the line.
Ray o?i the line.
The pupil should now sing the following and similar exercises to
inffinR- • tne Sol-fa syllables. He should always bear in mind
Pitch. the position of Doh, as Ray is only discovered by its
relationship to it : —
(1)
/O\ _-...
£~ ~~ — »~~*1*3 5 * — * ~0 ^-v I'
r r r r
r r i i r ii
^ ' f^r ~ . *~~~?-*^
A* 0 * •— '— — -
(A) DOH—
(3
hr~f
irrri irriii"
*~~s jt A ^^ -H
DOH
r r r r
p f r r T r II
^ ? • — • — ^
(4) DOH
r r r r r r
r r r r r r r r
62 AURAL CULTURE BASED UPON
(1) Practise writing three-pulse measures in Sol-fa notation.
Preparation. (2) Practise writing crotchets, minims, and dotted
minims.
(3) Construct tunes in triple time (in Sol-fa notation),
using a three-pulse sound at the end of each phrase.
(4) Write the following in Sol-fa, using Sol-fa time-
notation :—
(a) BOH I J J J [ rj J I J J J I J •
(b) UOH | J J | J J | J J J | J J ||
(5) Translate the following, placing the requisite notational
signs on, above, or below a single line, as the case may
be. Use Doh in turn upon and below the line :—
(a) (|d :- :- |r :- :- r :r :- |d :- :- ||
(b) :d d :r :- r :d :r d :- :- d :-
STEP VI (b). Imitation and Memorization of Fah.
THE teacher should play the song through and ask the pupil questions
similar to those in the previous Steps. He should point out the
important resting-place in the middle, shewing that it occurs on the
sound Soh, and is of three beats' duration. The fact that the final
sound is also, unusually, Soft, and of the value of three beats, should
be referred to by the teacher.
Learning1 ^ne ^une snou^ then be learnt by heart as in
the tune. preceding Steps.
The pupil should next fix the Sol-fa syllables to the sounds of
the tune as it is played in small sections of two bars.* At the
second section—
The new xT Tig J I J j-4 '
sound and
its character.
he should be told to listen carefully, and to say which
* The word Section here is used in its technical sense, with reference to the sub-
division of the phrase. See Chapter VI of " Form in Music." (Stewart Macpherson.)
MUSICAL APPRECIATION.
53
is the new sound. The character of this sound is somewhat
similar to that of Soh in its bold, but rather bald, feeling when
approached from Doh, e.g. : —
being, however, far less bright. This degree of the scale has often
an inclination to proceed to Me, as seen in bar 3 in the example
above. At times, too, the sound is a little cold and desolate, e.g. : —
(bars 4-7)
The name Fall should now be given to this sound, and its hand-sign
shewn thus :— J^l^^ (the reverse of Te.) When all the
sounds have been named, the tune
, ,, , n. i o i t
should be sung through to the feol-fa
syllables, and also to Lah, both teacher
and pupil making the hand-signs.
Fah, and its
Hand-sign.
doh'
te
•
soh
fah
me
ray
doh
The position of Fall should now be shewn on the
Modulator. It should be indicated close to Me, just as Te is
placed close to upper Doh.* The tune, "The
sing-ing-. North Wind doth blow," and also the following,
among other tests, should then be sung to the
teacher's pointing on the Modulator :—
doh
doh
* The teacher will realize that this is to give the idea of the smaller, semitonio
step between these sounds, as 3rd and 4th and 7th and 8th degrees of the scale,
respectively.
64 AURAL CULTURE BASED UPON
The following and similar passages should also be used as Sight-
singing Exercises, being sung first to the Sol-fa syllables and
afterwards to Lah : —
(a) (1) d n • d • f n jr ' r n f s f n
(2) n f n r tl^js ' d s f n s d.
(3) d1 t d1 s f s j- ' n f s d r n^d
(4) d n s d1 t s f n*r ' n f s d f n r
(b) (i)
Id :n |s :f |n :r <s :— a :n |r :d Is :n Id :— I
(2) /Id :r :n If :n :f Is :d :n Is :— :— Is :f :n r :n :f
n :r :s
(3) /Id :n :f Is :d :d' |t :— :— Id1 :n :f Is :r :n d :— :— II
(1) Sol-fa the tune, "The North Wind doth blow," from
memory, pointing to the syllables on the Modulator;
afterwards Sol-fa the tune, making the hand-signs.
(2) Sol-fa from memory two of the former tunes, similarly
pointing on the Modulator.
(3) Sing and point impromptu tunes including Fah.
(4) Construct simple melodies in Duple and Triple Times,
writing them in Sol-fa notation. The final sound of
each phrase should, for the present, be of the value
of two beats in Duple Time, or three beats in Triple
Time, e.g. :—
(1)
(2) 2
jj j
MUSICAL APPRECIATION. 65
STEP VII (a). Quadruple Time.— Four-pulse Sound.
THE Khythmic Exercise, No. 7, should be played, and the pupil
should beat time to it in the usual way. The fact that each sound
in the melody is of the value of four pulses, or beats
pufsJsound snould be recognized without much difficulty, and tht>
pupil should then indicate the pulses by marching
and the note-values by clapping, taking therefore four steps to
each clap. (See previous lessons.)
Marching and clapping should afterwards be reversed in the
manner now familiar, and other rhythmic movements might with
advantage be devised for practice on the four-pulse sound.
(See page 59.)
The melody of the Ehythmic Exercise should now be used as a
dictation test, directions being given to the pupil to space out the
syllables, thus : — d r n r
Ear tests. The bar-lines should then be added, thus : —
and each bar divided up into four spaces (one for each pulse) by
means of a short vertical line to indicate the half-bar, with dots to
divide each half-bar into two parts, thus : —
Afterwards horizontal lines should be drawn through the second,
third and fourth of the spaces in each bar or measure, to indicate
that the sound continues through each of these pulses, e.g. : —
d :- |- :-
When the whole melody has been written out in this way, and
the phrasing-marks added, the pupil should sing it, marching or
beating time.
66 AURAL CULTURE BASED UPON
The time-name, Taa aa aa aa* should be given to the four-pulse
The time- sound. With regard to its notation, the teacher is
name, advised to develop this in a manner corresponding
to that shewn in connexion with the two -pulse and
three -pulse sounds in preceding Steps in this order : —
J ^J> J^ fj , ^ _^& , d^ ^J »
afterwards introducing the pupil to its own special sign, viz., the
semibreve, o.
The pupil should then write the time-names corresponding to
the various sounds of the Rhythmic Exercise, or part of it, adding the
bar-lines and writing the note-values immediately below, upon a
horizontal line : —
I taa :aa |aa :aa taa :aa |aa :aa
etc.
[-etc.
The following are specimens of dictation tests in Duration, to
which the teacher should add others of his own :—
Dictation (1) U* — + — & \-fs>-* f I f — f — f — f I & 11
tests :
Duration.
~r r r \ tr ~rr
(Directions as to giving the above tests will be found on page 55.)
The next tests given should combine time and pitch. Only the
two pitches of Doh and Kay are used ; these the pupil must indicate
by note-values written on, above, or below a single line,
as snewn *n tne previous Step (page 61). The teacher
should play or sing the pitch of Doh before giving any
test, and tell the pupil whether he wishes Doh to be indicated upon
or below the line, as in the following specimen tests : —
rrrlr rrlrrrrl Irr r Irrr Ir r rlp II
J J |J J J-[^ ' Jj ; J J |J J J [^ 'ft
* This name the teacher should elicit from the pupil, from his previous experience.
MUSICAL APPRECIATION. 67
The idea of the staff may now be developed further, in connexion
Sight- with the pupil's Sight-singing studies. He should be
singing: : told that if Doh is on a line, Te,* will be below it, and,
Position .
Of Te,. if Doh is above a line, le, will be on it, e.g.: —
I I I l ! |J J J
(a) DOH • |» p hrerJ— *— ^ » » o-
on the line. 1 1 I I
(b) DPJH \* 0 p LTE ,» • p If f fg
V ' above the line. I | | | I I I I II ' '
The following and similar tests should then be sung to
Sol-fa and afterwards to Lah : —
(1) Write the notes indicated by the following passage,
Preparation. usmg a single line and regarding it as representing
Doh:—
d :r :d t, :d :r d :— :ti d :— :—
(2) Write the following in Sol-fa : —
[f-r-lr r Ir r Ir If r Ir r Ir r ^r
STEP VII (b). Imitation and Memorization of Lah.
AFTER the pupil has answered questions relating to the time and
Learning- character of the song, " Old Abram Brown," and has
the tune. ajso iearnt it by heart, he should be asked to find out
any new sound contained therein, and if possible to describe its
character. This sound will of course be the A in bars 1, 2, 3, etc.,
* Te below any given Doh is indicated thus : — Tei or t( Its position should be
shewn upon the Modulator, and its effect compared with that of Te below Upper Doh.
68
AURAL CULTURE BASED UPON
and in the opening phrase of the tune the tendency which this new
sound has to fall to Soh will readily be noticed, thus : —
x
Character of
new sound.
Old A- bram Brown
When approached from Upper Doh through Te, it will easily be felt
to have a somewhat sad effect, an effect by which it is generally
recognized :—
(Bars 5 and 6 of tune.)
p
'
The name Lah should be given to the new sound, and the hand-
sign for it, thus :— C*0P| shewn, the palm of the hand being
turned towards the body.
The effect of the dropped wrist
well illustrates the drooping or weeping
character of the sound.
The pupil should now give the
Sol-fa names to all the sounds in the
tune, and then sing it to the Sol-fa
syllables, and also to Lah, making the hand-signs at the same time.
The name
Lah, with its
Hand-sign.
doh'
te
lah
soh
rah
me
ray
doh
Sigrht-
singring;.
The position of Lah should then be shewn on the Modulator
as in the margin. A complete one-column
Modulator can now be used, as all the sounds of
the major scale have been studied. " Abram
Brown," and also the following exercises, should be pointed on
this Modulator :—
/"•N
doh1
(1) doh
(2) doh1
lah
soh
soh
soh
me
ray
te
lah
soh
soh
doh
doh'
MUSICAL APPBECIATION.
69
The following among others should also be sung by the pupil,
both to Sol-fa syllables and to Lah : —
(1)
n f s
> s d1 t 1 s
(2) d n s 1 d* 8. d1 t 1 t d1 B g
t d1 t 1 s f rT^ r n f s 1 1 t
rt s 1 8 1 t s t d|
(3)
(4) d n d s d1 1 s n
(5) |:d Is :
s :
:f ls f :n r :s n :r d
(6) :s d1 :t :1 s :f :n r :d :n n^:—
I I
:r In :f :s
:t :d' r :s :n Id :— I
The teacher may, at this point in the pupil's study, safely and
effectively introduce a greater element of variety in
Directions to . . 0. . ; . . °/CY , _ , . , ,
teacher as to nis oight-smgmg tests, (bee examples 5 and o above.)
the writing: This may be achieved by occasionally making the last
of tunes. J J
note of a phrase occur upon a weak beat, e.g. : —
x i
*^
— 1 — 1
*-.J-
>
=it=*=
1 — 0
NH
iil
IP
It will be observed that in the above passage, instead of both phrases
ending upon a strong beat, thus : —
^
the first phrase ends upon a weak beat, with two slurred notes,
A and G, in place of the one long note, G ; while the second ends upon
a strong beat as heretofore. The result of this proceeding is that the
middle resting-place is rendered less obvious, melodic variety is
secured, and a graceful " curve " given to the melody.
In succeeding Sight-singing exercises and Ear-tests the teacher
should occasionally introduce phrase-endings similar to the above;
but for the present he should treat only the first phrase in this
70
AURAL CULTURE BASED UPON
manner, and then only by approaching the Soh, Te, or Ray sounds by
those immediately above, slurring the first note to the second, e.g. : —
1 s
_-. . is . n r
i) 42, ju rij JiJjii (Wj ju rij Jij jii
tj ,-*• • — \ *) ^ ' ' ~^"i
(iii) 4l j J I J E^E£^
When a phrase finishes upon a weak beat in the above manner,
it is said to have a "feminine ending." If its termination occurs
upon a strong beat (as in all the examples in previous Steps) the
ending is said to be "masculine."
The teacher should carefully explain the difference between
these two forms, and shew that in the case of a " feminine
ending," the preceding sounds of the phrase really lead up to its last
strong accent, and then (as was stated on page 48) fall away from this
to the final sound. The truth of this will be felt if the " endings "
are harmonized : —
(1) Impromptu tunes to be pointed on the Modulator.
(2) Short tunes to be written on the above plan, i.e.t
with the occasional use of "feminine endings."
(3) An impromptu tune to be pointed on the Modulator
to the words of " Little Jack Horner."
MUSICAL APPRECIATION.
71
STEP VIII (a). The Staff of Two Lines.— Further Practice
in Duration.
THE Rhythmic Exercise, No. 8, should be played in the usual way, the
pupil beating the time. Afterwards the pupil should step the note-
Beating values and indicate the pulses by a downward, upward,
time, etc. and outward movement of both arms.
N.B. — As the note-values in each bar are here varied, the pupil may, perhaps,
find some little difficulty at the outset in stepping them. In this case the teacher
should extemporize Ehythmic Exercises based upon the following more simple note-
values, thus leading up gradually to the Ehythmic Exercise, No. 8: —
* Ehythmic Exercise (a).
t Up, down, out, up, down, out, up, down, out, up, down, out.
J-LJ J-
B
J-UL
B
R
etc.
Ehythmic Exercise (b).
down, in, out, up, down, in, out, up, down, in, out, up, down, in, out.
Up, down, i
-J-UU
J-
B
B
J-U-
B
etc.
Ehythmic Exercise (c).
Down, up, down, up, down, up, down, up.
-J J I J I J J I gi 1 etc.
L B I L I B L I B 1
Ehythmic Exercise (d).
1
)own, up, down,
up,
down, uj
J
», down, up,
down, up, down, up.
? r
B
L"
' R
TJ r * *
Ehythmic
Down, out, up
Exercise (e).
, down, out, up,
J J J
down
,out, up, e
tc.
J J J
J . J J
T x
^ • * *
•R T,
V
•R
^» -
. T, R
T,V R T
etc.
etc.
In the above exercises the pupil must make a vigorous down-movement of the
arm as well as a stamp with the foot in order to indicate the accented pulse.
When the sound is not struck on the accent (as in d and e) the pupil must feel
the down arm-movement very strongly.
The melody of the Rhythmic Exercise should now be used as a
dictation test in pitch and time as in previous lessons, and written
Ear tests : down by the pupil as follows : —
pitch and time.
il
- :d :r
:f
etc.
* If the teacher cannot improvise, he will find material in the Ehythmic
Marches of Jaques-Dalcroze.
I The words above the notes apply to the arm -movements, and the letters below
to the right or left steps. •
72 AURAL CULTURE BASED UPON
When this has been completed in Sol-fa, the pupil should
write the time-names corresponding to the various sounds, adding
their notational signs on a line underneath, e.g. : —
taa :taa
etc.
N.B. — The teacher should carefully explain the use of the tie in the writing of a
sound of four beats in Triple time.
taa :aa :aa
aa :taa :taa
^m » »
taa :aa :aa
aa :taa :taa
— <^~i
••"Tf •
1
r r r
1
1 1 1
The following and similar tests should be dictated by the teacher
Dictation tests : and written down by the pupil. (For directions
Duration. see page 55.)
_
« Inr r Ir ' — If — Ir r r Ir — r If
/?\ _ ^ /Ts
<2) \rr~ 4rr r Ir • — Ir r r Ir r r Ir '
Iii the following the pupil must write the pitch as well
D* i m as the duration of the sounds. Only the three
Pitch and ' ' different pitches of Doh, Ray and Te, are used ;
Duration. these must be indicated upon, above and below a
single line, as in Step VII (a) :—
w °°H Ir r r Ir • Ir r r I J • Ir r r Ir r Ir J Ir • II
(2) ,^J-J-J-J-|J J J | J J J ]j J f
<3) - |r r r If — Ir r r Ir1 — H
(*) °°H Ir r Ir r Ir r Ir r Ir — IF — If r Ir — H
In the pupil's next exercises in Sight-singing, the teacher
Sight- should introduce him to a staff of two lines, as
sing-ing:. indicated below, Doh being placed in turn in the
three following positions : —
MUSICAL APPRECIATION. 73
(1) ° 'ujj01"1 D0~ » *~^V * (2)
(3) Doh under bottom line. g§H — ^ ^ — RAY— » — []
It will be seen that the pitch of Me with relation to Doh is indicated by the
above examples. It is obvious that, in Examples 1 and 2, the position of Doh
necessitates Me being written upon an additional line.
The following and similar passages should then be sung (i) to Sol-fa
syllables, and (ii) to Lah : —
"l . J .
i j i J ' —
1 J 1
^
J J J1 II
DOH-
2)
E5HI
3)
.. ,_...__,..,..,
i ^ £«£ _ 9
1
1 -H1 — H
i* * *
» 1 _ J L
* i J ' n
^ \ """ <* ~
1 1 J~"?
1 «
m CSQ
r ' r
' ' 1
1 II
1 1 J i J i J j '
'J J J
-t— r— ^ H
RULE. — If Doh is on a line, Me will be on the line next above.
If Doh is in a space (i.e., above or below any line) Me will be in the
space next above.
(1) Write the following in Sol-fa, indicating both time and
pitch : —
. (.)~4.-|.|j JiJjTirl'rrrlr
rr-ir r ir r iir r i
(2) Write the following on a staff of two lines, using in turn
the three different positions for Doh as shewn above,
viz., (i) on the bottom line ; (ii) below the bottom line ;
(iii) between the two lines : —
(a) d n d r n d^r_ r n r d
(b) n r n d d r n r n r d r r rr^d_
(3) Write the following on two lines, placing Doh in turn
upon the bottom line, and between the two lines : —
|:d In :r :d d :t, :d r :n :d |r :— :r X
/In :r :d t, :d :n In :— :r Id :— ||
74 AURAL CULTURE BASED UPON
STEP VIII (b). The Scale.
THE song, " Little Miss Muffet," should be learnt in the usual way,
Learning- the pupil afterwards adding the Sol-fa names to the
the tune. melody and singing the tune to these syllables and to Lah.
He should then get quite familiar with the consecutive order of the
syllables up and down the Modulatorfand should be told that singing
them thus is termed singing a scale (L. scala, a ladder).
He should notice how the mental effect of each scale-
degree is modified by the fact of its moving conjunctly (i.e., by step).
For example, in thus proceeding upwards from Doh to upper Doh, the
natural downward tendency of Fah and Lah is no longer felt, the ear
readily following their upward progression towards their ultimate
destination (viz., the upper Doh). Likewise, in proceeding from
upper Doh to lower Doh, the upward tendency of Te is similarly
completely destroyed, and it moves downwards quite satisfactorily
to the ear. Ray, it should be observed, is equally attracted by Me and
Doh, and therefore is free to go up or down under any circumstance.
From what has already been learnt concerning the different
mental effects of the sounds of the scale, it will be readily seen that
Two kinds of tnese soun(ls divide into two classes ; one in which the
sounds in sense of rest or repose is inherent, and the other in
poip i
which that of activity or motion is prominent. T
In the former class are included the sounds Doh, Me, Soh,
(In Key C.)
arid in the latter, Te, Ray, Fah, Lah,
(In Key C.) jg
For example, when any of the sounds Te, Ray. Fah, Lah are
employed, there is a feeling of expectancy created, which is not
* The teacher is now advised to use a printed Modulator (see footnote, page 95).
t These tendencies, it need hardly be said, are frequently modified by special
forms of harmonization, etc.
MUSICAL APPRECIATION.
75
satisfied until one of the notes of the Tonic Chord (i.e., Doh, Me,
Soh) is reached, e.g. : —
Doh Me Soh Doh
ir -f-^-^- *— •
Doh, Me and Soh may therefore be regarded (so to speak) as
" Sounds of Attraction," and taken in conjunction with one another
as the Tonic Chord, form a centre to which all the sounds of the key
naturally tend, as will be seen by the following illustrations : — *
Lah
The teacher should now point Modulator exercises for the
pupil to sing, employing all the sounds of the Scale. The natural
tendency of each scale -degree should be observed
carefully, and exceptions to this should be made only
when the scale line is followed up or down. Skips in
the melody should at first be made only between the "sounds of
attraction," viz., the sounds of the Tonic chord.
* From this we see that the law of alternate activity and rest is inherent in
the scale sounds as it is in rhythmic-movement, and a successful melody — one
that seems to flow naturally — depends upon a subtle moving to and from sounds
of so-called motion and those of so-called rest, the former moving by reason of their
own inherent quality, the latter only through some outside impulse, harmonic or
rhythmic. The following examples will illustrate this : —
" Last Eose of Summer."
I
J.
BEETHOVEN. — Sonata in E (Op. 90).
76
AURAL CULTURE BASED UPON
The following and similar tests should also be sung by the
pupil : —
(1)
(2) d s f
(3) r~p s 1
r ' rT' t 1
(4) :g n :f :• Id :-:d r :n :d s :-:
:t :d' f :n :r s :n :r d :-
:f s :- |n :d r :- |r :n f :n
:s d :~
(6){:n | s :- |d :r |n :d s :n |f :- |n :s |r :- Id' ||
N.B. — The pupil should be told to observe that, in Examples 4, 5 and 6 above, the
first bar of each phrase is preceded by one or more unaccented sounds. These unaccented
sounds preceding the first strong accent of a phrase form a kind of " melodic prefix,"
which is called by some writers an Anacrusis. (Gr. anakrouo, to thrust back.)
It will already have been noticed that phrases need not always begin upon the
first beat of a bar, nor of necessity end upon the first beat.
(1) Construct some short tunes, beginning each phrase with
Preparation, an "anacrusis" (or melodic prefix), and finishing with a
" masculine ending " (see page 70), e.g. : —
masc.
ending, anac.
masc.
ending.
JIJ J J
f
r
J
(2) Construct some short tunes, beginning each phrase with
an "anacrusis," and finishing the announcing phrase
with a " feminine ending," and the responsive phrase
with a " masculine ending," e.g. :—
fern,
ending, anac.
maso.
ending.
r
Announcing phrase.
I Responsive phrase.
%* The tunc<3 constructed by the pupil are to be written in Sol-fa.
MUSICAL APPBECIATION.
77
STEP IX (a). Syncopation.— The Staff of Three Lines.
THE pupil should beat time to the Rhythmic Exercise, No. 9, and
his attention should be drawn to the unusual accent on the second
beat of the bar, occurring in many places in the course of the piece.
He should also be told to observe the fact that in the
th^ tun? to last phrase of all no note is struck on the first or third
beat of each bar in the melody, and that this has
the effect of throwing the accent back to the point at which a
note is sounded. When a note is thus sounded on the normally
unaccented beat and continued over the next normally accented beat,
the effect is called Syncopation.*
The melody of the Rhythmic Exercise should now be written
down in Sol-fa, as in previous Steps, the pupil indicating the duration
as well as the pitch, e.g. : —
Ear tests:
Pitch and
Time.
d :d I- :n
:s — :n
d :d I— :n
8 :— |— etc.
The time-names corresponding to the various sounds
should afterwards be written and, as before, the
no tational- signs indicated on a line below, thus : —
taa
taa: taa :aa
:taa
taa :taa :aa
:taa
r
1
etc.
The following and similar tests should be dictated by the
Dictation teacher and written down by the pupil in the
tests. usual way : —
(a) Duration.
j
J
(2)
|J
J J |J J Jjj J J |J J J
* For further particulars as to Syncopation, see page 25 of " Eudiments of
Music." (Stewart Macpherson.) : : I
78 AURAL CULTURE BASED UPON
(b) Pitch and Duration. (See pages 66 and 73.)
« gir r J ir r r' Ir r r
ir r r Ir r' '-' Ir r r
The teacher should now develop the idea of the staff still further,
Sight- and in so doing, should shew that if Me is placed on a
singing. jjnej Yah will be just above it ; also that if Me is in a
space, Fah will be upon the line immediately above it, e.g. :—
The position ME— H*a — « —
of Fah.
The pupil should then sing the following and similar exercises,
first to the Sol-fa syllables and then to the syllable Lah :—
|J r r Ir
<2> °oH-p r |J r r r ir>' > r ir r r r I^H
<3> •» u r Ir Ir J fr Mr J 1^ II
It should then be pointed out that if Fah is placed on a line, Soh
will be written just above it, e.g. : —
The position ME j FAH — SOB • \ gen — \\
of Soh.
consequently, if Fah is above a line, another line must be added
to indicate Soh, a staff of three lines thus being formed : —
RULE. — If Doh is below a line, Me will be above it (in
the first space) and Soh in the second space,
mree 11
positions of thus : — SP: " * m If Doh is on the first line,
Doh on the
Staff of Me will be on the second, and Soh on the third
three lines. SOH • \\
line, thus : — ggH— » *~-
If Doh is in the first space, Me will be in the second, and Soh
SQH ^11
in the third space, thus : — pgn * m []
MUSICAL APPRECIATION.
79
The pupil should sing the following and similar tests (i) to
Sig-ht-singringr. Sol-fa syllables, and (ii) to Lah : —
r r rr r r
+
r
m
r
r
(3)
r
v
r r r
M
'-
|r
W «J-»l-j-J^E
r I J j j
* Z7^
(1) Write the following in Sol-fa, indicating both time
Preparation, and pitch : —
•>! J •) »' I r I
(b)
3
r r|J J
DOH
(c) pon:
(2) Write the following on the three-line staff, using Doh
in each of the above three positions in turn, viz., below
the first line ; on the first line ; in the first space : —
(a) /:d d :n s :n f :n
- |r :n Id :s |n
:d Id :r :n f :— :n r :n :d r :— :— r :n :f Is :— :n f :— :r d :—
80 AURAL CULTURE BASED UPON
STEP IX (b). The Tonic, Dominant and Sub-Dominant Chords.—
Perfect and Imperfect Cadences.
THE song, "As Tommy was walking," should be learnt in the
Learning1 the usual way, and the Sol-fa names added. Questions
tune- should also be asked with reference to the character
of the piece, similar to those in previous Steps.
The teacher should now point out that the notes of the tune
do not move conjunctly (i.e., by step) up and down the scale, but
The three disjunctly (i.e., by skip). For instance, in bars seven
principal and eight the melody proceeds along the now familiar
progression, d1, s, n, d, while at bars five and six there
is a movement upon the sounds s, t, r1,* and, at bars nine and ten,
upon the sounds, f, 1, d1.
It should be explained that when any of these three different
sets of sounds are played or sung together, they form chords, the
Tonic, combination of d, n, s producing the Doh, or Tonic,
Dominant chord ; that of s, t, r1 the Soh, or Dominant, chord ;
dominant and that of f, 1, d1 the Fah, or Sub-dominant, chord,
chords. Each of these chords takes its name from its lowest
note, called the root of the chord.
If the Tonic chord is played, and the Dominant or Sub-
dominant chord contrasted with it, the mental effects of these three
m, . chords will be found to be somewhat as follows : —
mental The Tonic chord is firm and strong, being the
ec ' centre of repose in the key ;
The Dominant chord is bright and very expectant of the Doh chord ;
The Sub-dominant chord is heavy and somewhat dull. It shares
a little of the expectancy of the Soh chord for that of Doh, but only
in so far that it has a desire ultimately to return to that Doh (or
Tonic) chord.
The teacher should now give the pupil practice on the Modulator,
Sight-singing- m order to familiarize him with the Sol-fa names of these
exercises. chords. An exercise such as the following, pointed on
the Modulator, and sung to the syllables, will soon achieve this : —
* Upper Eay, Me, Fah, etc., are indicated in the same manner as Upper Doh, e.g. : —
d1, r1, n1, f ', etc. At this point in the pupil's work the position of Upper Eay should
be shewn on the Modulator, and its effect compared with that of the Eay below.
MUSICAL APPRECIATION.
81
d n s n etc.
I ' f 1 d1 1 etc.
The above exercise should be sung quite slowly at first, the speed being
increased as the pupil becomes familiar with the different groups of
syllables.
The pupil's ear should now be tested, the teacher requiring him
to recognize the Tonic, Dominant and Sub-dominant chords as they
Ear tests on are played. To this end the scale should, as a rule,
the Tonic, ^e played first, one of the three chords being played
Dominant and . ,. . • . i •, *
Sub-dominant immediately afterwards, the pupil saying which chord
chords. ft is> anj singing it to the Sol-fa syllables, e.g., d, n, s;
s, t, r1 ; or f, i, d1.
When these chords can be easily recognized and sung as above
indicated, the pupil should, on hearing any one of them played, be
called upon to sing the three notes of that chord in any order. For
example, the teacher, after playing the Tonic chord of any key,*
(Key c.) should request the pupil to sing (i) the top note,
(ii) the middle note, and (iii) the bottom note
v ' v '
(i.e., s-n-d). He should then strike the chord
again, and ask for the notes in another order, e.g. : (i) the middle note,
(ii) the bottom note, and (iii) the top note (i.e., n-d-s), etc. The
Dominant and Sub-dominant chords should be treated in the
same way.
These are the first important steps in the direction of chord-
recognition, and of the perceiving both of a bass and of the inner
parts of a harmony.
It should now be shewn that, in almost every case, the Dominant-
chord, s, t, r1, precedes that of the Tonic, d, n, s, at the end of a piece,
and it should further be explained that when any
The Perfect r ••'•*, j • J.T.- /• T. .Li-
Cadence phrase in its course ends in this way (i.e., when the
Dominant chord is followed by that of the Tonic), the
progression is called a Perfect Cadence (or Full Close). The mental
* The key should be constantly varied.
82
AURAL CULTURE BASED UPON
effect of a Perfect Cadence is one of completion or conclusion, and
is analogous to the " full-stop " in literature, e.g. : —
Andante. •• On the Banks of Allan Water."
It will remembered, moreover, that in the melodies that have
up to the present been given as Sight-singing and Dictation exercises,
the first phrase has generally ended upon one of the
Cadencef" syllables, Soh, Te, or Eay. These notes when sounded
together form the Soh, or Dominant, chord, as has already
been pointed out above, and a phrase ending upon a Dominant chord,
or having as its last melody-note one of the notes of the Dominant
chord, viz., Soh, Te, or Eay, produces an effect analogous to a comma
or a semi-colon,* and forms what is known as the Imperfect Cadence
(or Half- Cadence), e.g. :—
Allegro.
Old Lincolnshire Song.
The teacher should now frequently test the pupil's ear in the
recognition of Perfect and Imperfect Cadences by playing him tunes,
or portions of tunes, in which such Cadences occur. Further, the
melody-notes of the Tonic and Dominant chords should always
be recognized and named ; in other words, the pupil should state
* Or even occasionally to a point of interrogation.
MUSICAL APPBECIATION.
83
whether the root, the 3rd or the 5th of the chord is in the top
part, by giving the Sol-fa names of the last two melody-notes
of the phrase, e.g. : Ray to Doh ; Te to Doh ; Doh1 to Te ; Doh
to Ray ; etc.
The following are specimens of Sight-singing tests for the pupil
Sight-singing, to sing at this stage :—
1
(1) {:d n :— :d n :s
:s f :1 :d' d1 :t :— d1 :1 :f s :
PI :d s :— :t d1 :—
(2) {|n :r d
— |s :n s :— |s :t r1 :d' |1
:t d' ? ||
i
(3) / ;d d SR S8 s :n
:d 1 :1 :f n :r :r n :f :s 1 :
t :d' t :r':s d1 :—
(1) Tunes, similar to those in the previous Steps, should
be constructed, the first phrase ending with r, s, t, or r1
(consequently implying an Imperfect Cadence), and the
final phrase with d, n, s, or d1, preceded by r, s, t, or r1
(illustrating the idea of a Perfect Cadence).
(2) Simple melodies (such as National tunes, etc.), written in
Sol-fa, should be given to the pupil, who should be
required to describe the Cadence implied at the end of
each phrase of such melodies.
STEP X (a). Half-pulse Sound.— The Staff of Three
Lines (continued).
THE Rhythmic Exercise, No. 10, should be played to the pupil in
the usual way, answers being elicited with reference to the character
Listening to of the piece, its time, and the duration of the various
the tune. sounds contained therein.
When the pupil has realized that there are two sounds
to every pulse, he should be told to make down- and up-arm-
Rhythmic movements to indicate the pulses, and short, light,
movements, quick steps to indicate the note-values, taking therefore
two steps to each down arm -movement and two steps to each
AURAL CULTURE BASED UPON
upward one. This should be varied by stepping the pulses and
clapping the note-values ; two claps therefore being given to
every step.*
The melody of the Rhythmic Exercise should now be sung
or played by the teacher, the pupil naming the sounds to the
E . . Sol-fa syllables, and writing them in his book, e.g. : —
s 1 s 1 s d1 t 1, etc. Bar-lines should then be
inserted and each bar divided into two equal parts by the usual dots,
thus : — s 1 :s 1 s d1 :t 1 etc.
Each pulse should then be subdivided by means of a single dot,
thus : — 8 -1 :s -1 8 -d' :t -1 etc., by which means the half-
pulse sounds in the tune are conveniently indicated. When the whole
tune has been completed in this way, it should be phrased and
sung by the pupil.
The name ta-te-f should be given to the half-pulse sound,
and its notational sign for it (the quaver) shewn thus : — J* The
The Time- pupil should then write the time-names of all the
name, Ta-te, sounds in the tune (or a phrase or two of it), inserting
bar-lines and the necessary dots to indicate the
pulses, adding a line underneath, and placing the notational signs
upon it, e.g. :—
ta .te :ta .te
I ta .t<
far
ta .te :ta .te
ta .te :ta .te
ta .te :ta .te
The following and similar tests should be played by the teacher,
Dictation the pupil beating the time, saying the time-names, and
writing down the notational signs : —
tests.
* These suggested Ehythmic movements are similar to those advocated by
M. Jaques-Dalcroze in his Ehythmic Gymnastics, but the teacher is advised to invent
movements suitable to the pupil and to the room in which the lesson is given. It
may not be possible to make any rhythmic movements whatever, and in this case the
pupil must simply clap the note-values, and count or beat the time.
f The "a" as in ask. The " e" as in French (approximately "eh " in English).
J The pupil should be told that quavers belonging to one pulse are usually
written thus, J~~J, not J* ^
MUSICAL APPEECIATION. 85
(a) Duration. _
r_r
<2> faH-r u- I f ' ILJ- I ILJ- u- I r
(b) Pitch and Duration.
J J JJJ J
The pupil should now be shewn the pitch of Lah in its
relation to Doh, when it is written upon the staff of
Position of ,, v
Lah on staff three lines.
of three lines. If Doh is on the bottom line, Me will be on the
second line, Soh upon the third, and Lah just above the third line : —
-SOH-
If Doh is below the bottom line, Me will be in the first space, Soh in
the second space, and Lah on the line above this space, i.e., the
third line : —
TJOTT
The following and similar exercises should then be sung to the
Sig-ht-sing-ing-. Sol-fa syllables, and afterwards to Lah : —
r r f
DOH —
M-^ _ «-
I •< r r I
T5OH"
86 AUEAL CULTURE BASED UPON
The pitch of Te and Lah should now be shewn in relation to upper
Doh ; this is most easily done upon a staff of two lines, as follows : —
If upper Doh is placed upon the top line of this staff, Te will be
Position of Te underneath it and Lah upon the line below, e.g. : —
and Lah from DOHi-m '
Upper Doh. CIZ^-LAH-,*-
If upper Doh is placed above the staff, Te will be on the
top line and Lah between the two lines, e.g. : —
It will further be noticed that if upper Doh is on a line, Soh will
be in a space, and vice versa, e.g. : —
The following and similar exercises should then be sung to the
Sight-singing. Sol-fa syllables and to Lah :—
DOH'-
1
I
\—» m
i
i
,i
\ , 1
— *~ *H
_—
\ „
-*-
1 r r 1
-e*
T1
M — H
DQH|
0
|
f \ + t
,1 1
1— ™ — *-
0 1 ^
I ^
[ r? •* II
-
F M— i
5> •
T-r-
r 1 1
01 1
h^ -fl
|
1
i
II.,
1
^ ii
r.
^j
^f
i i
e
y 9
! II
(1) Write the following in Sol-fa, indicating both time and
Preparation, pitch :—
DDK-
(2) Write the following upon a three-line staff. Place Doh
in turn upon the lowest line, and also below it : —
{:d |1 .s :f jn :r .d s :r :'n |f ji :r ji :f Ji |d :— ' ||
(3) Write two tunes in Sol-fa, similar to those in the
previous lesson ; but using quavers upon the unaccented
beats. The following is a specimen : —
/:d .r In :n :r jn :s :d .r |n :f jn :r |d :—
MUSICAL APPRECIATION.
87
STEP X (b). Extension of Scale.— Lower Soh, Lah and Te.
THE song, " One Misty, Moisty Morning," should be learnt by heart.
When the pupil has given each melody-note its Sol-fa name,
the tune should be sung to these syllables
theTune. instead of the words. The pupil's attention
should be drawn to the fact that the sounds
Soh and Lah, in the first and third bars respectively, are
below the ordinary Doh. The exact position of these
syllables, and the manner in which they are written (Soh,,
Lahh etc., or s, 1, etc.), should then be shewn on the
Modulator, as found in the margin.*
Modulator Exercises should afterwards be given, including the
lower Soh, Lah, and Te (s, , 1, , t,). At this point in the pupil's
Introduction stucty ^ wu^ ^e opportune to introduce definite time-
of time- patterns into his Modulator Exercises : and in those
next to be given, such patterns as the following would
be valuable, as demonstrating the particular subject of Step X (a),
viz., the half-pulse sound :—
doh'
te
lah
soh
fah
me
ray
doh
te,
lah,
soh i
(a) J J"j (b)
(o)
J (d) J J~J «TD etc,
The following is a specimen of the employment of the first of the
above patterns : —
+2 .1 r*i
4 J J •
=5:
Before giving the pupil an exercise such as the foregoing to sing,
it is generally advisable for the teacher to write the particular time-
pattern to be used, on the blackboard, and request the pupil to
tap it many times. The teacher should also be careful to make the
exercises rhythmical, by introducing a long note at every two, three,
or four bars, according to the length of the phrase.
The following and similar Sight-singing tests should be sung
by the pupil : —
(Key C, D or E.)
{'• |* - I' '- » " I' >- • '"I" "«!' » I* ||
* See foot-notes on pages 67 and 80.
88
AURAL CULTURE BASED UPON
(2) {|'s :l.t|d' :n IB :f |njr j'n :f.s|l :s |r :n |d :-
(Key F or G.)
(3) (:s, |1, :t, |d :r |n :- Is :- |i :fjn|r :l,.t,|d :— I— I
(4) /:'•, Id :d.r|n :f |8.1:s.f|n :r' |r :njn|f :s.l Is :s |d :-|
(1) The tune, "One Misty, Moisty Morning," should be
pointed from memory on the Modulator.
Preparation. (2) Tunes should be constructed on the following time
schemes and written in Sol-fa :—
J
J3J| J3JJ
-
3J| J J3J3 J
Dup
(b)
ile.
J
V
J j
(3) A melody should be written in Sol-fa to words, such,
e.g., as the Nursery rhyme, " Baa, baa, Black Sheep."
STEP XI (a). One-and-a-half-pulse Sound.— The Staff
of Five Lines.
THE pupil should be requested to beat time as the Rhythmic
Exercise, No. 11, is being played. The teacher should then sing the
melody of the first two bars slowly, with the pulses
tirne1"8' strongly and clearly marked. Afterwards the pupil
should sing the same passage, while the teacher beats
the time. As a result of this proceeding the pupil should discover
that the sound on the first beat of the bar is prolonged into the
second. Before this latter beat is completed, however, a shorter
sound is heard ; this occurs exactly at the half of the second beat,
the sound first heard being consequently of the duration of a beat
and a-half.
As many pupils find a certain difficulty in perceiving and
executing correctly this particular time-division (viz., J . £) the
Practice on teacher should give much attention to it. As in previous
thh ^P6"3;11^" Steps, the pupil should clap the note-values of the
sound. Rhythmic Exercise while marching to the pulses.
MUSICAL APPRECIATION. 89
Afterwards he should keep time by making arm-movements
as on page 83, and indicate the note-values by long and short
steps. If these last rhythmic movements be found too difficult the
pupil should confine himself to the first of these exercises. In
clapping the time-values it is helpful to press the hands tightly
together on the pulses where the sounds are held over.
The teacher should now play the melody of the Rhythmic
Exercise slowly, and request the pupil to write it down in Sol-fa
(directions being given as before for the syllables
to be spaced out and arranged in pairs, thus : —
s, d s, d s, d, etc.) Bar-lines should then be added and a short
upright line placed before the third pulse of each bar, thus : —
s, d s, |d s, d etc. The usual dots should then be inserted in
order to divide each half- bar and to indicate the pulses, the second and
fourth pulses being subdivided by means of a single dot, to mark the half-
pulses, thus: — s< d : .sild : .s, d : .r |n : .r etc. It will be seen that
the first half of the second and fourth pulses is now a blank space.
To indicate that the first and third notes last one-and-a-half pulses
horizontal lines are drawn through this half-space to show its
continuation: — s, d :-.s,|d :-.s,|d :-.r |n :-.r etc.
The pupil should now sing the Rhythmic Exercise from his own
copy, and should beat the time as he does so.
The time-name Taa a-te* should be given to the one-and-a-half-
pulse sound, and the notational sign for it shewn, thus : — J Jj or J . £
Time-name The pupil should write down all the time-names of
Taa a-te\ the tune (or, at axiy rate, a phrase or two of it), and
indicate the note-values upon a line underneath : —
| taa
1-r
taa a-te taa a-te
taa a-te taa a-te
etc.
The following and similar tests should be played by the
Dictation teacher, the pupil beating the time, saying the
tests. time-names, and writing down the corresponding
* The teacher is advised to introduce the sign for Taa a-t6 by first shewing the
pupil the Taa ta-t6 that he is already familiar with, J J"H. The next step should
be the crotchet tied to the quaver, e.g. — J J"j, the alternative method of writing
this J . J* being afterwards shewn.
90
AURAL CULTURE BASED UPON
notational signs.* Directions as to giving these tests will be
found on page 55.
(a) Duration.
(1)^U_£3_^
U
(b) Pitch and Duration.
J • J| J • / J ' ||
sro
ft
n
&
S<d:
[iff
JF77'J|r rrrcHJ J'B
The pupil should now learn to read from the normal staff of five
lines ; this is effectively introduced to his notice by the
ILJ ... i *^
Staff. combination of the staff of three lines with that of two
lines as used in connexion with Soh and upper Doh
in Step X (a) : —
-H 1 J 1 1 J ^ DOH' gg
J-"^ j •g^::f:::f:::r:::::::::: j^g
DOH' H 1 •]--
<») »2£fc
(b)
§
^^^
—SOH -49
— ME <S£-
—DOH — ©
It will be seen at (b) that if Doh is on a line, Me will be on the
next line above, Soh on the line next above that, and upper Doh in
the space next but one above that line. If Doh is in a space, as
at (a), Me will be in the next space above, Soh in the space above
that, and upper Doh upon the line above the next space.
The " Staff-modulator," as shewn in the margin,
should now be written on the blackboard,f and the
teacher should point easy exercises built upon the
Tonic (or Doh) chord, and also upon all the various
DOH
Sight-
singingr.
degrees of the scale in stepwise succession.
Exercises such as the following should then be sung by the pupil,
first to Sol-fa syllables, and afterwards to Lah : —
* It is strongly recommended that, as a preliminary study for these tests, the
teacher should play single bars, introducing the Taa a-t6 at different parts of the
bar, e.g.:— (a) . (b)_ (c)
etc.
The pupil should identify these by saying their time-names while beating the time.
t The teacher should vary the pitch of Doh from time to time, and on no
account should he associate the Doh as indicated on this " Open Staff " with the
Treble clef, thus erroneously regarding this Doh as representing E. The actual pitch
depends, of course, upon the clef used. The pupil will be introduced to the idea of
the clef in the next Step.
MUSICAL APPRECIATION.
91
(1)
(2)
(3)
(4)
1
F*=FI
1 2
• I
1
. r
F*=^
r^
i
[__l — J_
— — iq
zj-1-
— J-
i3 •
DOT1—
— |— J
33E
-f—s-
-^ —
^~^
=^
[J -1 |
h-
DOH — 1
7*L_
J '
Lfczfd
y=£d
— ^
i — 3a
^j
' l i
—
• -i r
1
j
9 •
A ^* ^
^ J
1
DOH —
^J_^_*J
^ J
M
|
m
3
5l=F
When such exercises as the above can be read with fair fluency,
the position of Doh should be changed upon the Staff- modulator,
DO
thus : — (a)
(b)
(o)
POTT
and the teacher should point many exercises of his own with Doh in
turn in the positions shewn above.
Exercises in phrase-form such as the following, should also be
gven : —
DOH*—
(i)
(2)
(3)
F
J
r
r
DOH—
^^^
=?^^
^=^
^
J J J
1 '
DOHL
(1) Draw a five-line Staff-modulator, placing Doh in any of
Preparation.
the above four positions, viz.-
(a)
(o)
_LDOH__I
-OOH-
and sing impromptu tunes, pointing at the same time
upon this Staff-modulator.
(2) Write the following on the five-line staff, placing Doh
in turn in each of the above four positions : —
(a)dnsnd'snssnsnd
(b) d r n s d1 t d1 s n f s n d
(3) Write the following in Sol-fa : —
i i
DOH1
rrir i*' % Ji*1
92
AURAL CULTURE BASED UPON
STEP XI (b). The Interrupted Cadence.— First Step in
Absolute Pitch.
THE tune, " When little Fred," should be learnt in the usual way.
The melody should afterwards be sung to the Sol-fa syllables in
Learning- the place of the words, answers being elicited with reference
tune- to the character, note- values, etc., of the tune.
The teacher should also shew that at bar 23 a Perfect Cadence
is expected, but that it is interrupted by a chord
Cadence. * different from that of the Tonic. When such an effect
is produced it is called an Interrupted Cadence. The
chord or combination of sounds used in this case is that of Lah,
The Sub- Doh, Me, and it is named the Lah, or Sub-mediant,
mediant chord. This chord, containing as it does two notes
of the Tonic chord (Doh and Me), becomes a very
natural substitute for that of the Tonic when it is especially
desired to avoid a Full Close, or Perfect Cadence, as in the
following instance :- „ God m the King „
1 , — ±-to
j !lj; i
sa
^
The following and similar exercises should be pointed on the
Sight- Sol-fa Modulator, notes of the Sub-mediant chord
sing-ing-. being frequently introduced :—
(Key C or D.)
d n s n d1 1
d1 1 n f • n r ' n d d1 1 d1 r1 d1
The teacher should also point exercises upon the following time-
patterns. (See Step X (b) ) :—
(l)
etc.
(2) J.
etc.
The following and similar time and tune tests should also
be sung : — *
* Further Sight-singing exercises for use at this and succeeding stages will
be found in " Melodies and Tests for Sight-singing and Musical Dictation," by
F. C. Field Hyde, or in " Easy and Melodious Sight-singing Exercises," by Edith
Rowland. (Joseph Williams. Limited.)
MUSICAL APPRECIATION.
93
(Key E or F.)
:s, d :ti Id :r n :s
(Key C or D.)
r :-' |n :s 1 :d'
n :r d
(2) |:n s :l.t :d' t
:— :1 s :f.n :r n
-'II
!
:r |n :-.f s :d' |1 :d'
n :r |n .f :s d :1
s :n .r d
(Key F or G.)
(4) {Id :n Id :1, d :n Id :t, s.f:n.r|d :n II, :d Id :
The Sub-mediant chord should now be played by the teacher and
its notes sung in any order by the pupil in a manner
effect of similar to that described on page 81. The frequently
Sub-mediant rather sad mental effect of the chord should be carefully
noticed, as well as its weaker effect as compared with
the strong Tonic, Dominant, and Sub-dominant chords.
In order to demonstrate this, the teacher should play passages
such as the following, dwelling somewhat upon the chord marked x
in each example (i.e., upon the Sub-mediant chord) :—
x i f\ _ x
At this stage of the pupil's progress, much simple music should
be played to him, not only to cultivate his feeling for pulse-regularity,
accent and phrase, but in order that his aural perception may be
developed more fully and perfectly by his observing the variety and
contrast afforded by tno chord -progressions forming the various
cadences hitherto studied. By this means he will gain the power
not only of feeling, but of knowing what takes place in the course
of the music.
94 AUttAL CULTURE BASED UPON
•
The pupil will have noticed that the pitch of Doh varies ;
sometimes it is high and sometimes low. Up to the present,
pjxed however, the particular pitch selected for Doh has not
(or absolute) concerned the pupil, his attention having been drawn
merely to the pitch-relationship borne by the different
sounds of a key to the one selected at the beginning of an exercise
or song. The exact pitch of the various sounds should now be
more carefully noticed and definitely localized. This is done most
easily by endeavouring to remember that of one sound first, and
finding others from this.* _o /r
The teacher should commence by playing Middle C (m —
telling the pupil that this particular sound is named by a letter of the
alphabet, C ; it has an even more definite name, viz., Middle (7.f
The pupil should then be told to sing it, and then try to remember it.
It should now be explained that the pitch of every sound heard
is known by a certain letter of the alphabet ; for example :—
If Middle C is the pitch of Doh-
The pitch of Bay will be D.
Me „ E.
Fah „ F.
Soh „ G.
Lah „ A.
Te „ B.
„ Upper Doh will be C1, and so on.
* Some persons, even quite young children, possess the faculty of localizing
sounds in " absolute " pitch in a remarkable degree, without the slightest effort.
It cannot be denied, however, that when in the course of the pupil's ear-training
studies the pitch-names of the various sounds are constantly referred to in addition to
the Sol-fa names, or when he is far enough advanced to use only the pitch-names,
(that is, when his feeling for tonality has been established), the perception of " absolute"
pitch becomes acquired in a manner which, to most people, is almost incredible.
This perception being really a form of musical memory, it would seem that when
it is possessed without effort we have an extreme instance of what is known as
Spontaneous Memory, which is not unlike Voluntary or Spontaneous Attention.
When, on the other hand, it is acquired only by an effort of the will after long
association, we have an extreme instance of Volitional Memory. This Volitional
Memory often develops into Spontaneous Memory in the same way that Voluntary
Attention becomes, in the course of time, ^Ton-voluntary Attention.
t The teacher should take care that the pitch of the piano that he uses is
that of the French Normal Diapason. He should also explain to the pupil the
meaning of the term Middle as applied to this particular C.
MUSICAL APPRECIATION.
95
It will therefore be seen that the first seven letters of the
alphabet are used to indicate the absolute pitch of the different
sounds.
In order to become familiar with the pitch-names and to associate
them with their actual sounds, exercises should be sung from a
Modulator made of these names, as shewn in the margin.*
The teacher should first impress the sound of Middle C
upon the pupil's mind, making him sing it, and
afterwards request him to sing the scale slowly, using
- m the pitch-names instead of the Sol-fa syllables. Skips
from C to G should then be sung, leading on to skips
on the Tonic (C, E, G), Sub-dominant (F, A, C1) and
Dominant (G, B, D1) chords.
- C1 -
-d1
- B -
- t
- A -
-1
- G -
- s
- F -
- f
_ E -
-m
- D -
- r
- C -
- d
The teacher should next take Middle C as Doh, and request the
pupil to give the letter-names of the various sounds of the scale as
they are sung to him in Sol-fa. In giving this exercise the teacher
should begin with the notes of the Tonic chord, proceeding to the
other degrees of the scale as the pupil progresses. Afterwards,
sounds in the key of C should be played, and the pupil required to
give them their letter-names instead of their Sol-fa names. Of course
the pupil may think in Sol-fa first, but he must give the letter-names
in his answers.
(1) Write the letter-names of the following, regarding the
Preparation pitcn of Doh as Middle C in every case : —
(1) d n s (2) d r n (3) n s d (4) d n s d1
(5) f n r d (6) d f 1 d1 (7) s t r1
(2) Write the letter-names of the notes of the Tonic chord,
the Dominant chord, and the Sub-dominant chord
(Key C).
(3) Translate the following into Sol-fa, regarding C in each
case as Doh : —
(1) c d e f e g a b e1
(2) e e d e f a e1 g b d1 e1
(3)cgfclgagbc'agefe d<^
* The Aural Culture " Combined " Modulator (large size for class, miniature
edition for home use) will be found useful. (Joseph Williams, Limited.)
96 AURAL CULTURE BASED UPON
STEP XII (a). Rests.— Fixed (or Absolute) Pitch applied
to the Staff.
THE Rhythmic Exercise, No. 12, should be played through in the
usual way, and the pupil requested to beat time. The moments of
silence or "rest" should be noticed, and the pupil
snou^ march to the exercise as it is played again, the
note-values being indicated by clapping, the rests by the
hands being thrown apart. Other rhythmic movements may be
devised and practised, similar to those suggested in previous lessons.
The pupil should now write down the melody of the tune in
Sol-fa, directions being given for the syllables to be written in
E t t pairs, thus : — d r d n d f ; bar lines should then
be inserted, and each bar divided into three spa/jes by
means of dots : — {'•& |* '• :d |n : :d |f : :d |, etc., the second space
in each bar being left blank to indicate the one-pulse silence or " rest."
The pupil should now sing the Rhythmic Exercise from his own copy,
and should beat time as he sings.
The time-name, Saa, should be given to the one-pulse rest (it will
be noticed that the consonant S is substituted for the T of the
The Time- time-name, Taa), and the notational sign for it shewn
name for one- thus — F or £. The time-names of all the sounds and
* rests of the piece (or of a phrase or two of it) should
now be written, with their notational signs on a horizontal line
underneath, as in previous Steps : —
:taa taa :saa :taa I taa :saa :taa taa :saa
etc.
-Hr r r Ir r Mr r
The following and similar exercises should be written down by
the pupil from the teacher's dictation : —
Dictation
t Daration
\r f r\r ir ,- I r " r I r ' ~H
MUSICAL APPRECIATION.
97
(b) Pitch and Duration.
(1)
(2)
The above tests may be effectively prepared for by the teacher playing single
bars including one-pulse rests, e.g. : —
(.) (b) (0) (d)
CfiHl-
1 P-
— J — F-n
t=^=t
-—J p~
~r — T~
-J — p — -j — jK-
-H — F4— •
DOH— 1 — J
J II
DOH1—
-*-a r-s-
k-=r- .
i 1 M
j
T r ^ r
r ^ •* r -^
1 J J
* ^ J r ! r r r
f2-
(i)
J
(0)
(2)
J
J J
J r J
(g)
r JllJ J
J J
J J J
J
The rests should be introduced at different parts of the bar in turn, and the pupil
should respond by saying the time-names, as in previous Steps.
The next fact that should be presented is that the fixed or
, absolute pitch of a sound can be indicated on the staff
aJTieS
applied to by placing the letter-name connected with that sound
s a * upon a line, or in a space. For instance, if it is
desired to indicate the pitch of Middle C, the letter-name C may be
placed on one of the five lines of the staff, thus : — EE
— C-(Middle-C> — =
It will therefore follow that if Middle C is fixed to a line, and
that line represents Doh, the space above it must be Kay and bear
the letter-name D. The line above it, being Me, will bear the
name, E, and so on. The pitch names of the lines and spaces of
the normal staff, if C is placed upon the bottom line, will therefore
be as follows : —
The teacher should now ask the pupil to sing a scale starting
from Middle C, and direct him to proceed upwards as far as possible
beyond the Upper Doh. He will probably be able
_
to reach tne higher F — /u | and will by this means
The Range
vohje.
realize that the compass of his voice will lie between Middle C
and this F.
96 AURAL CULTURE BASED UPON
If the above (lettered) staff be now examined, it will be seen
that to indicate the pitch of high F another line will have to be added,
necessitating a six-line staff, thus :—
The Six-line - - — D — B — F~
staff. A — B v
This form of staff being inconvenient and difficult to read from, it is
the custom for it to be reduced to a normal five-line staff again by
Middle C writing Middle C upon a short line, thus : — *
written as a f || u c 1>— E — F~
Leger line, f II D ^ F — » rt — —
This short line is called a Leger line.
The names of the lines of the staff, instead of being C, E, G, B, D,
as on page 97, are therefore now E, G, B, D, F, while the spaces,
instead of being D, F, A, C, are now F, A, C, E :—
j! ^_E=
It should now be explained that a note placed upon one of the
lines or spaces of the above five-line staff takes the name of that line
or space, e.g. : — =&= fj r* Further, that it is necessary
-«?- G C1
for the name and pitch of only one line to be specially indicated, that
The letter- °f eacn °f tne other lines or spaces being found from it.
name G placed As Middle C does not actually occur upon this staff,
determine but only as a leger line below it, another line has to be
Pitch. used for this purpose, and custom has selected the G
next above Middle C, i.e., the second line of the staff. This could, of
course, be shewn thus :— =zg:= : but this letter G, after having
o
The G, OP appeared in various shapes at different periods, is now
always found in the following ornamented form : —
This ornamental G is called the G (or Treble) "cleft
The pupil should practise making the G clef, first on one
\j
line and then on the staff, thus : — (jK and
* For the reason of this, the teacher is referred to Chapter II of " Eudiments of
Music " (Stewart Macpherson).
t (Fr. " clef," a key) ; therefore, the key to the riddle of the staff. The
historical development of the clef signs is interestingly described in " The Child's
Pianoforte-book," by Mr. Keatley Moore.
MUSICAL APPRECIATION.
99
The following lines and spaces should then be named by the
pupil, and the teacher should give some practice of this kind at
many subsequent lessons, until fluency in naming is
Exercise . -, *
on the acquired :— *
Pitch names.
j.
_
r * j j
f . I
r J
_
r
The following and similar Sight-reading tests should be sung,
first to Sol-fa, and then to Lah : —
(1)
f
3=F
-^
5
£S
JJJ- N^
3
^
•^r
(*)
/k r
1 — 1~
1 J. J^ J r 1
-V- SE
-p —
— 1 h-
, P-
1 H 2 »-= «= » : «-= « = : »—
V *
J J '^i. -1
N.B. — When the G clef is used the pitch of Doh is invariably Middle C, unless
the clef is followed by signs called sharps or flats, thus : — "7JT # — - or i^Byj— ; the
purpose of which will be explained in future Steps.
Preparation.
(1) Name the following lines and spaces : —
4 r r r J j r r r J^^
*> -*-
(2) Indicate the following in Staff-notation, using the G clef,
and writing each note as a crotchet : (i) Middle C,
(ii) clef-line G, (iii) E above Middle C, (iv) E above
clef-line G, (v) C above clef-line G.
(3) Write the following similarly in Staff-notation, using the
G clef, and regarding Middle C as Doh : —
(a) d n s n d 1 f n s d1 1 t d1
(b) n r d 1 s n s d1 n1 f n1 r1 s d1
* Excellent material for the naming of notes will be found in Mrs. Curwen'a
Child Pianist " (Grade I, Book I).
100
AURAL CULTURE BASED UPON
STEP XII (b). Rests.— The position of the Dominant and
Sub-dominant chords on the Staff.— The Major Scale.
THE song, "There were Two Birds," should be learnt in the
Learning1 the usual way, and afterwards sung to the Sol-fa syllables,
tune, etc. (^ previous Steps.)
The following and similar Modulator tests should then be
Modulator pointed by the teacher and sung by the pupil, as it is
tests. most desirable that he should have plenty of practice
upon the matter of previous lessons :—
(1) With single-pulse notes. (Key C or D.)
d 1
• d1 1 f -n^j- ' n 8 d' r t
(2) With the time-pattern J . J* (Key F or G.)
8 :- .1 I s :- .f I r :-
f :- .n I r :- .t, d :—
—^
(3) With the time-pattern J"j J (Key F or G.)
!:
:n .r
d :t,.l 8, :l,.t, d :r Ji s :s .1 s :f .n
:r .d It, :l,.t, d
A Staff-modulator should now be drawn as in the margin,
the position of the Dominant chord being shewn on the right, and
The Staff- ^hat of the Sub-dominant chord on the left. Exercises
Modulator. similar to the above should then be pointed on this
Modulator for the pupil to sing, the Sol-fa names being
first used, and afterwards the syllable Lah*
The following and similar tests should be sung to Sol-fa, and
Sight-singing1, afterwards to Lah : —
•> Jir Jir r
(2)
RU
I
E3E
- Y —i 1 J
W=^=
-j^
E^
1 J J ! 1
— i — 3i
if
=3F
J ' ^ * « > s,^
-1 —
* -J-
* It is also useful to sing the actual pitch-names.
MUSICAL APPRECIATION.
101
After a certain amount of facility in Sight-singing has been
gained from practice on the Sol-fa and Staff-modulators, the teacher
should request the pupil to notice, by examining the
Semitones. Sol-fa Modulator, that the distance between adjacent
degrees of the scale is not always the same. For
instance, it will be seen that the distance between Doh and Ray,
or Ray and Me is larger than that between Me and Fah ; also
that the distance between Fah and Soh, Soh and Lah, or Lah
and Te is likewise larger than that between Te and Doh. The
smaller distances or intervals in the scale are called semitones,
and the larger ones whole tones. The scale will thus be seen to
contain two semitones and five whole tones, the semitones occurring
between the third and fourth and seventh and eighth degrees, and
the tones between all the others.
When the tones and semitones occur in a scale in the above
order, the scale is said to be a Major Scale.
The Major Scale may therefore be regarded as a '* ladder," or
group of eight steps, as shewn below : —
doh'
te
soh
fah
me
ray
doh
It will also be seen by the above illustration that, in the scale
starting upon C as Doh, the semitones occur between E and F, and
lOii
AUEAL CULTURE BASED UPON
B and C, a fact which should be strongly impressed upon the
pupil's notice.
The Major Scale of C should now be written on the staff, and the
semitones indicated by a slur as below : —
3
3s?
£E£
p
It will be observed that all the intervals look the same on the staff,
and the pupil must in consequence always make an effort to
remember the position of the semitonic steps. The above scale
should be both written and sung by the pupil.
His attention should further be drawn to the fact that the Major
Scale is divisible into two equal parts, each containing
two tones and a semitone. These groups of four
notes are called Tetrachords (Gr. tetra, four, chorde,
a String) e.O. : — n Lower tetrachord. Upper tetrachord^
The
Tetrachord.
The scale should finally be sung and written rhythmically in
Rhythmical duple, triple and quadruple times, various time-
Scale-singringr. patterns being introduced, similar to the following :—
(1) n 1
Dnnln V
|
>l 1
1
-
>'
Time «B —
— T
=|
(-
J
-^
— ^~
-^ ^~
-^
— K
—j-
i
j-
r
— j—
c/ *^~
^
— *
L| 1 1
4
i-
V
(2) t |
mi fl
>l 1
> 1
Triple -Jf—
r
— I-
1 1—
— 1-
— j^-
-£;-! F-
=5
—
— \-
—
t
1—
— r- •
Time. (ff) — -j-
<J ~^~
'
'
1 1 1
i
|H
-
0
J
(3) I
>l 1
.^
>|
yuadruple -J* —
nv rfyl\ 1 —
— f
«^-
-I—
— j —
— (-
— jjj-
-f2 '"-
— <
£3
— |—
— | —
•
--
Time. {9} — j-
C/ ~^*
— i-
r r
9
f —
*
—
^
>
>
i
>
>
Quadruple V
Time. fe>—
=£
-A
-f
^ •
-»•-
—\
r Jt
»•-
1-
-v
•
=#
~*
-+
-r-
^| etc.
Care should be taken that the final note comes upon the accented beat, unless
a " feminine ending " is desired.
(1) The scale of C should be written upon the staff, the
semitones being indicated by slurs.
(2) Melodies should be constructed and written in
Sol-fa, and also on the staff in the key of C.
MUSICAL APPRECIATION.
103
ALTERNATIVE (EASIER) SONGS
FOR PITCH-LESSONS.
STEP I (b).
Words by L. H.
Stay-at-home Doh.
Introduction
of
Doh and Soh.
Marcato.
E. E.
cres. 5
soh
doh
l fvM I ...... I I r* M '1
• * * ^ ~i — h r* r* i h * * * <-j
' «i * * * * i '
Stay-at-home Doh saw Soh walking out, Dress'd like a soldier, and shouting about ;
Marcato.
mf
I I I
:± -f- 3: V Fed. *
-r^Ped. *
A rit. e cret.
5
Who could be fin -er or brav - er than I ? Doh thought he could but did not try.
£
m £"
— i —
|> » |* k )P
^=IF=
^T
LJ
rit. e cres.
r r
Fed. *
104
AURAL CULTQEE BASED UPON
STEP II (b). The King of France.
„ Moderate. - -.» -^
Introduction
of
Upper Doh.
E. B.
doh'
soh
doh
fgg
i i
i i
— j
!=?H
=
^=ft
-P P-
The King of France went u]
Moderato.
> the hill Witl
J- J- 1[ f=
i twen- ty thou-sand
<• — ^— .
^
0 e\
— ^ — ^*<-
—
1 Tj
i j
V"
•
i >
i^ 'gj. J?1^ JJ
•-^ > i . .
fo): Q ^
i
1 f.
ff
-f
E3
J 1
^4-
• . - —^ —
J r
,_
-1-
— h
^^^
» »
^1^ Jir F-if
men; The King of France came down the hill And ne'er went
1 2 » 6
£
3
6 4
Fed.
* Fed.
Fed. *
poco rit.
up a gain and ne'er went up a - gain.
Fed.
MUSICAL APPRECIATION.
105
STEP III (b). Oranges and Lemons.
E. R
Introduction
of Me.
doh'
soh
•
me
doh
mf Andante.
^^
£
O -ran-ges and lem-ons, Say the bells of St. Cleinent's.You owe me five
Andante.
1 1
m/
1
Ped.v
?P
J^P J J w J
H* — J — «
-
-4-^
-^ — J —
^j | szns
(err P «—
tj
far - things, Say the
4 — — —
bells of St
r* J J
Mar - tin's,
1
f* m f*
•
When will yo
^
a
1 * J ad
pay me, Say the
r" $
r~,*
p
p
f W
E
BP
p~6I 1 1
rTJ
1 —
S_:£fc3 *
-^
i —
— i 0
0
— i j —
Fed.1-
una cor da.
ra«.
fift J J i
3^2 —
i
| J
1
^-J1
i ! — J-
£i •
bells of Old
Bai - ley, When I grow
3 — " " J ^ • -1
rich, Say the bells of Shore-ditch,
ratf. _
(^t> r — J^j
•• P [<-*•. \
— i
i
1-
—
1 1 1
kP ! U
^y — J-1-^-1 — fe »* ' s
^ -^w- -szg: :jf
c
si
*
»
i
m_ jg
Z. -si .11
*" ^
— 1 — ^ ^
^r^~ ^ j~
-j-H
-j*5
1 0^
— -j — i
~1 — i —
v\) 0
-{ ^
1.J
0\ J
—
— ! 1
.
tre corde.
-
106
AURAL CULTURE BASED UPON
STEP IV (b). Twinkle, twinkle, little Star.
E. K.
In
production
' Allegro moderato.
— »
' 0 . b-u j
•
•
_^ •
of Te.
\
/L b t> L i
^
9
— F
-f — (•—
— f—
— at
-rd 1
icp 7 ft *
=
1 —
— F —
H 1—
-\ —
—
i
doh>
te
soh
me
doh
Twin - kle, twin - kle,
Allegro moderato. t
rt U. i S W~ "™ "«
lit -
h 1
tie
r
V
star, How ]
v B3 ^
XW p hi
• n—
— ^ n—
i 1* i * *i £ i
— « —
— LB —
|Q) * v P *. -.
tJ
n
r1
f
d
TT7
— !• —
\f ^
^ ;
^
— U
— i 1
| 1
1
*
^ m
fcp'V ->y
•
'. . '.
•
1?
Al J J
poco rit. a tempo.
r r r J
won - dcr what you are ; Up s - bove the world so
rrr^te
j j j
jooco rit.
Fed. » I
^
high,
Like a dia - mond in the sky.
tt
7
i
J
Fed. » Fed.
MUSICAL APPRECIATION.
107
STEP V (b). Goosey, Goosey Gander.
E. R.
Introduction
of Ray.
Allegro moderato.
doh1
te
•
soh
me
ray
doh
-*—?
J • J "
Goo-sey, goo-sey gan - der,
Allegro moderato.
Whi-ther shall I wan - dcr,
mf_
r r
Up stairs and down - stairs, and In my la - dy's cham - her.
Fed.
Fed.
Fed.,
108
AURAL CULTURE BASED UPON
STEP VI (b). Mary, Mary.
Tempo di Valse.
E. B.
utrouuction -U-'H* ftmt — — i 1 ;
of Fah. flT *Y 1 1 rl J ^ J — j
— 1 1 1—
• i tl <zJ ^
Ma - ry, Ma - ry, quite con - tra - ry,
IQ n w Tempo di Valse.
— I l I —
How does your
^/ «^ O 1 1
,
• .^H -.*)"* f r* £*
•
son ^v j J 3—3 2 * Z— — 4
fBIi
^ ii :J: -~5 ^5 ^ ^S" 7^-
*
1 tt^ ^^"jt y? — (^ — ~ '^ H *^ *
— PJ 1
^-^ • . \
con v _ , —
» Ped. * Ped'
^^
P| i ~ f^ ^
(^ 0
^ ^ ^ " J —I h 1
—I 1
gar - den grow, With sil - - ver
bells and
J- 0 H i
i/ **j* j i II
— e, 1 1
/W ft — P _• _d P >«""v 1 — 1 — « 1 T 1 1 —
Ifft ~ ^ € * m • ^ • —
^ J JJ
— ^ J— ' S * —
tJ ~TJ- »*• ^
^ ^ ^ — ** ^ ^ ^ <P
^ .H
1 q
™j ! ! r ^ •
^^ 1
ft— ^ ^
'^^ >^__ _^f*
P_i 1__ — - — ' . . — ^ —
^ — =
T
C^ — — ^ ^ ^ -j ^ ^ -j —
- 1 1
coc - kle shells And pret • ty maids all in a
row
&-$—? — — * — — ' f* — — 1 1 f* 1 f-
f 1
5^1 i_4 ^ ^ ^ * rSi
23
^' ^ — 1 1 ! ZJ 1~
r~|
^ l^jrJ • — 1 cJ^ $* \_^* ' — ^-
1— j «-J
=_
— ^
1
^^ *^— * * ^ ^
P^- ^Z "^ -^
-.
— F=^^s — 1 1 ^~J i1"8 — • ^
•^ — * — Ml
. J. . ^T J. W. . ' p
• -1 n
~~3 — r — r~"
^ Jt— — J — — | — — f — — <r 1 * —
Ped.
Ped.
MUSICAL APPRECIATION.
109
STEP VII (b). There was an Old Woman.
E. R.
Introduction
of Lah.
Modfrato.
mf
doh1
te
lah
soh
fah
me
ray
doh
There was an old wo-man who lived in a shoe, She had BO ma-ny
Moderate.
mf
fe): n M—
£•_> v ~
^4
— l
-£3- •
g^
^=^
^T^
-=t '
cres.
chil-dren she didn't know what to do ; She gave them some broth with - out
a - ny
Fed.
bread, and whipped them all sound-ly and sent them to bed.
Fed.
AURAL CULTURE BASED UPON
STEP VIII (b). Little Miss Muffet.
(With simplified Accompaniment.)
Introduction Moderate, with well marked time.
complete
Scale.
doh'
te
lah
son
fah
me
ray
doh
-I 4-
-I 1 1— i 4-
0*0
Lit -tie Miss Muf-fet Sat on a tuf-fct, Eat-ing some curds and
^=1
:a:
+=+-
Fed. * Fed. * timile.
whey, .
Eat-ing some curds and whey; There
Am.
a
5
-j — i — \-
-+—r
+
came a big spi - der, And sat down be - side her, And frightened Miss Muf-fet a -
ig.
.
r
* m) *\^
-§
way,
*~
frightened Miss Muf-fet a - way.
^~;
r i i
3t
*-* *-*
.
dim. e nt.
MUSICAL APPRECIATION.
Ill
STEP IX (b). As Tommy was walking.
(With simplified Accompaniment).
Introduction Moderate.
of the three
Primary
Triads.
As Tom - my was walk - ing one fine sum - mer day, Some
Moderate.
cher - ry . cheeked ap - pies he
on his way,
<S(-
P3=g
mf
^r^s
Fed.
# Fed.
* Fed.
» Fed.
saw on his way;
112 AUEAL CULTURE BASED UPON MUSICAL APPRECIATION.
KECREATIYE MUSIC
Suitable for the teacher to play to the pupil without technical comment.
(See Introductory Chapter.)
BOCCHEBINI
BRAHMS
DAQUIN
DEBUSSY
ELQAR
EDWARD GERMAN
GOUNOD
GRIEO
FERDINAND HILLER
MENDELSSOHN ..
MOSZKOWSKI
RAFF
SCHUBERT
SCHUMANN
WAGNER
WEBER ..
(a) Minuet in A.
(b) Minuet in Efe.
Hungarian Dances (Nos. 6 and 7).
" Le Coucou."
"Golliwog's Cake-walk" from "Children's Corner"
Suite.
Bavarian Dances.
(a) Dances from Henry VIII Music.
(b) Masque from " As you like it."
(c) " The Revel " (Tarantella from " Gipsy Suite ").
(a) " Funeral March of a Marionette."
(b) Soldier's Chorus from " Faust."
(a) " Elfentanz " and " Albumblatt " (Op. 12).
(b) " Voglein " (Op. 43).
(c) " Norwegian Bridal-procession " (Op. 19, No. 2).
(d) "Wedding-Day" (Op. 65, No. 6).
" Zur Guitarre " (Impromptu).
(a) War March of the Priests (" Athalie ").
(b) Wedding March (" Midsummer Night's Dream ").
(c) " Lieder ohne Worte " (Nos. 30 and 34).
(d) Overture (" Midsummer Night's Dream ").
... (a) " Serenata."
(b) Spanish Dances.
(a) "La Fileuse."
(b) Rigaudon.
(a) Entr'acte II and Ballet Music from " Rosamunde."
(b) " Moment Musical " (Op. 94).
(a) Album for the Young (Op. 68), Nos. 1, 2, 3, 5, 7, 8. 10-
11, 12, 16, 17, 18, 20, 23, 24 and 28.
(b) " Jagdlied " (Op. 82).
(c) " Schlummerlied " (Op. 124, No. 2).
(a) Bridal March from " Lohengrin."
(b) Spinning Chorus from " The Flying Dutchman."
March from " Concertstiick."
'.' Other suitable pieces will be found in the succeeding Appendix.
APPEJNTDIX.
MUSIC AND THE YOUNG CHILD,
THE REALIZATION AND EXPRESSION OF MUSIC
THROUGH MOVEMENT,
BY
MARIE SALT.
ALL teachers of young children should be interested in the place and
function of music in the early stages of life. The little child is too
immature to study music formally, and to follow the lines of training
arranged for those who have gained power of concentration, and are
capable of the intellectual process of analysis.
How are we to utilize these early years of life so as to reap a
rich harvest later on ? Before we go further, let us consider what
is our aim. Shall we work for visible results ? Will our end be
accomplished when the individual can perform, can sing, play or
dance ?
If this is the only aim of the teacher, the best in art cannot develop.
It is impossible to measure artistic feeling fully and truly by any
form of outward result. And, moreover, the teacher who works solely
for such results will surely have a limiting and narrowing effect upon
his pupils — only a few of whom can achieve success in this direction,
and even these will be likely to lose much of the best in music,
while the average child must remain largely unchanged by the
training. Unable to achieve great things in art, he is too often
debarred from that other form of artistic education, namely,
appreciation. Should not the aim of musical training be primarily
ii APPENDIX.
to develop the power to understand and appreciate music ? Every
child requires this for his complete development. The power to
perform successfully is secondary to this.
When and how shall we introduce music into the environment of
the child in order to influence his development ?
The answer to these questions will be found (a) in the Study of
the Child, and (b) in the History of Music.
There are two principles of child development which modern
educational thought has proved to be fundamental,
Child Study. * ...
and necessary to the intelligent understanding of
child growth : —
(1) MENTAL ASSIMILATION is INCOMPLETE WITHOUT EXPRESSION.
Development takes place as a result of the interaction of the
environment upon the individual, and of the individual upon the
environment. This is to say, there are two aspects in the process
of learning — (a) Impression, and (b) Expression.
All stimulations from the outside world finding their way from
the senses to the brain and thence to the mind, must make for
themselves a way of discharge ; and the normal paths, in early life,
are to the muscles, i.e., the completion of the cycle of mental activity
is found in movement. Therefore, if we are going to follow Nature's
laws in the training of the child, we must recognize expression,
movement, as a necessary part of learning and of intelligent
assimilating.
We are working against Nature when we stimulate thought,
perception and feeling, and do not provide for adequate expression
through action.
(2) CHILD DEVELOPMENT is ANALOGOUS TO RACE DEVELOPMENT.
The child passes through well-marked stages of growth, and
each period has its own peculiar requirements. He recapitulates in
general broad outline the history of the race, i.e., he has inherited
an organism which is the product of past racial activity, and which
must develop along the same lines, and according to the same general
plan, that effected the progress of his ancestors. His organism is so
ordered in its growth that his development will be dependent upon,
and responsive to, the same types of stimuli and activity as those to
which the race was subject during its parallel period.
APPENDIX. iii
The application of these two principles requires that music for
children be (1) associated with movement, and (2) primitive in
character in the early stages.
The History of Music reveals the truth that it has had a vital
place among the influences that have been at work moulding and
developing mankind from earliest times. Humanity
Musicf^ ° ^as a^ways fe^ ^e need f°r wider and more subtle
means of expression than speech alone affords. Music
is pre-eminently the language of the emotions, and we find primitive
peoples in all times expressing their deeper feelings in rhythmic
movement and sound.
We are sometimes inclined to think of Rhythm as foreign to the
child, but if we are to work effectively with this aspect of education,
we must recognize it as an integral part of his being.
Rhythm. ... u fe . . . . g *T.
allied to gesture, imitative activity, and language.
The child's nervous system is responsive to sound and rhythm at
a very early age, and his normal and healthy development requires it,
as it does exercise, language, and toy-play. Musical education begins
in the cradle with the lullaby and nursery song of the mother. This
indirect training must be continued in the school — still indirect in
character in the kindergarten and infant school, though gradually
preparing for the more intellectual, as well as the more purely
emotional, enjoyment of a later stage.
The music that appeals to the young child is simple in character,
with a strongly marked rhythm, and during the early stages of life he
will take pleasure in it as a whole ; minuter musical perception will
come later, after a long period of enjoying music through its power
to inspire and vitalize.
An experiment based on these ideas has been carried on since
1909, at the Streatham Hill High School, of the Girls' Public Day
School Trust. The musical education of children between four and
eight years has consisted of—
(1) FREE RHYTHMIC MOVEMENTS.
(a) Playing of instruments of percussion, such as drums,
tambourines, cymbals and triangles.
(b) Dancing.
(2) THE SINGING OF SONGS.
In the Band of instruments of percussion the children at first
play these instruments quite freely, accompanying simple and lively
iv APPENDIX.
tunes which are played on the piano. If loud and soft, quick and
slow tunes are taken successively, the children become conscious
of these qualities, and in time respond to them. When
they can recognize some tunes as loud, and others as
soft, they are ready for the more detailed work of discovering the
strong (*' loud") and weak (" soft") pulses in well-marked tunes.
At first, the children do not in any way formulate their
knowledge, but play loudly when they hear loud sounds, and softly
when they hear soft ones ; later they can count how many soft pulses
come between the loud pulses.
The band can also be used to help the children to gain
elementary ideas of form. (See page ix.)
The simple musical examples given below for dancing are suitable
here, and the treatment is the same ; but dancing is more satisfying,
since it is the response of the whole body, whereas the band-playing
is more limited, being the response of only a part of the organism.
Again, the band is only helpful with quite young children, because,
as soon as a child's ear begins to be educated, he passes the stage
when such a crude form of musical expression is of value.
We are apt to look upon dancing as a finished and conventional
art, as for example is writing. But it is, like drawing, music and
sculpture, a creative art, and therefore always in
process of development. We think children must
learn to dance, and teachers are engaged to instruct the young in
certain prescribed movements of body and limbs, as in writing they
direct the movements of the fingers. But surely this is a mis-
conception of the truth. Every child must learn to form letters
according to fixed rules, because these are merely symbols and allow
of no variation. Dancing, on the other hand, requires different
handling. A comparison with the teaching of drawing will make
this clear. The art of drawing is just emerging from the period
when it also was taught conventionally. In the drawing lesson of a
generation or so ago the child copied either from drawing cards or
from the teacher's work ; he learned to copy. Certain forms became
fixed in his mind, and could be reproduced at any time ; he knew
his daffodil, rabbit, house, view, design, etc., as they appeared in his
copy ; repetition had stamped in these images. In time he became
copy-minded; he could reproduce more or less faithfully, but could
not originate.
APPENDIX. v
Is not a similar process at work with regard to the usual
teaching of dancing? The child must learn a series of dictated
movements. These are sometimes graceful, and may give a very
pleasing effect, but it is often found that a child who has been
subjected to this treatment is capable of nothing better ; he is a
reproducer, not an artist; his development has been arrested on
a low plane.
In teaching a creative art we must realize that we are dealing
with an inborn potentiality. Every child will dance, just as every child
will draw or sing, if opportunities are not denied to him. All primitive
peoples danced and drew, they did it for the pleasure of the activity,
for the satisfaction gained by the spontaneous expression of their
thoughts, emotions or sentiments. It is only in recent times that we
have lowered dancing to the level of a conventional performance.
The dances of the musical play and of the ball-room limit our vision ;
they are but stereotyped and decadent forms of the art.
A brief experience with young children will shew that the
beautiful art of natural dancing will live again if only we give
them ample opportunities to respond to music in ways which are
perfectly free and unconventional.
As with primitive peoples, so with the child, the earliest stages
of dancing are almost barbaric in their vigour ; jumping, hopping,
springing, twisting, etc., are freely indulged in, and these movements
are often accompanied by sounds. Gradually, as a result of (1) the
effect of the music upon the child, and (2) his increased muscular
control, these more barbaric activities give place to rhythmic and
graceful movements. It is to describe both these types of activity
that the word " dancing " is here used.
What has been said regarding the formal dances of the stage
and ball-room must in no way be understood to refer to such
national dances as the beautiful Morris and Country
Dances*1 Dances re-discovered and taught by Mr. Cecil Sharp
and his band of dancers. These have rightly a very
important place in the dancing of older children and adults, but
for three reasons they are not suitable for young children : —
(1) The interest and chief value of such dances is historical
and impersonal ; little children are too unlearned to
appreciate this.
(2) The emotions expressed by them are adult emotions.
vi APPENDIX.
(3) The physical activity involved requires too much precision
and accuracy for young children to attempt without
overstrain.
In the work originated and carried out at the Streatham Hill
High School the five- minute intervals between lessons and two
twenty-minute periods a week have been utilized for
Method. , . . mi_ • i
rhythmic movements. Ihe aim has been to bring
the children daily under the influence of music, to give them
opportunities of listening, enjoying, and of responding to it in the
manner most natural to them at their particular stage of growth.
There has been no drill — no practice to make perfect — no attempt
to produce a pleasing spectacle. No criticism has been made regarding
the movements of the children ; these have been neither praised
nor blamed. The dancing has been perfectly free — entirely the result
of the spontaneous activity of the children without any directions
given, or pattern shewn by the teacher. Instead of stress being
laid on performance, every effort has been made to keep the children
unself-conscious, and forgetful of all else but the music.
Improvement has been brought about through development of
the children's power to listen to and enjoy music, together with their
increased motor control ; while their experiences have been widened
by the unconscious, spontaneous imitation of each other, and even
more, by original activity.
Music has often been connected with story, song and poem, and
the children have been encouraged to imagine stories about the music.
Dramatization, too, has sometimes been a part of the activity.
Roughly speaking, four stages of musical development are usually
observable, characteristic of children from about 4 to 8 years of age.
STAGE I. — Children about 4 to 5 years.
This period is given up to the unrestrained enjoyment of music.
The children have merry nursery tunes played to them, and are
allowed to move quite freely in response. They have little power to
attend to the music, but it exhilarates them, and affords an outlet for
their pent-up energy, which is vented in running, hopping, jumping,
skipping, stamping, etc. Although nothing is forced, the children are
encouraged to listen to the music, and gradually they are influenced
by the rhythm, and gain muscular control. Any nursery-rhyme tunes
are suitable for use at this stage.
APPENDIX.
vu
STAGE II. — Children about 5 to 6 years.
The children are now ready to appreciate to some extent such
matters as character, pulse, and simple structure. There is no attempt
to formulate knowledge of this kind, but the music presented to the
children is such that through their responsive movements they become
conscious of these fundamental characteristics. If it were possible to
introduce really primitive music to the children at this and the earlier
stage, it would be interesting to study its effect on them, and note
their response to it.
The idea of character is introduced by a talk ; can the children
hear the dog, cat, bird, wind, sea, thunder, etc., speak ? Music too,
speaks. They listen to a tune, such for example as
" Three Blind Mice," noticing when the music is slow
and when quick : —
Character.
THKEE BLIND MICE.
Largo.
/Ts
F
!^- J- Ij-J
Si 1
:fc
Pretto.
i
M
Laryo.
fJJ /
^
i
^=g
y
The children dance freely, listening for the music to tell them
when to move quickly and when slowly. Many other tunes are
played (see list) and contrasting types, such as "Sleep, little Child,"
and "Jack and Jill," if introduced in succession, are found most
helpful in getting the children to feel differences of character. The
movements made by them are unrestrained and varied, and any
which give them special pleasure are encouraged. Jumping, dancing,
clapping, running, marching, tapping, stamping, and free movements
of body and arms are all included. The aim here, as throughout,
is to afford the children opportunities (1) to listen, and (2) to give
expression through movement.
viii APPENDIX.
The following pieces are useful for work at this stage :—
' Ding Dong Bell " (Dulce Domum) JOHN FARMER.
•Looby Light" „ „
' Hot Cross Buns " „ ... ... ... „
'Where are you going to? (British Nursery Khymes) ... MOFFAT& KIDSON.
' The Wild Eider " (Album for the Young) SCHUMANN.
' Hurry Skurry " (Op. 140) GURLITT.
" Irish Washerwoman " }
" Reel of Tulloch " > March and Dance Album ... SOMERVELL.
" Stumpie " J
" Old Scotch air " }
" Off she goes " j- March and Dance Album ... SOMERVELL
" Come, lasses and lads "J
" Men of Harlech " "j
"Hearts of Oak " V March and Dance Album ... SOMERVELL.
"Vicar of Bray "
Tunes which taken successively afford the elements of contrast
are valuable, such as :—
" Hush-a-bye, Baby." (Dulce Domum) JOHN FARMER.
" Girls and boys, come out to play." (Dulce Domum) ... „
" Jenny Jones (Cadair IdrisV" (Songs of the British Islands) HADOW.
" Oranges and Lemons." (Dulce Domum) ... ... ... JOHN FARMER.
It is noticed that many children at this stage shew little feeling
for pulse, others lack the muscular control which would enable them
to express it, but as no progress can be made till they
Pulse. . .,
are conscious of pulse, emphasis is now laid upon it.
The children are led to notice loud and soft sounds apart from
music, such as thunder, hail, church and school bell, motor horns,
summer rain, the cat's purr, patter of the dog's feet, hum of insects •
they themselves make loud and soft sounds with feet, hands and
voices, play such sounds on the piano, and listen for the accented
and non-accented sounds in music played to them. They then
illustrate the same thing with their band instruments, as well as
by free movements. Later, the word "pulse" is introduced — the
children find their own pulses and feel the throb, listen again to
the throb in music. Here it may be necessary for the teacher at
first to mark th« pulses very strongly in his playing, even to the point
APPENDIX. ix
of exaggeration ; but before long the children will be able to play in
the band or dance to J, |, J, or f time with comparative ease. In
this way, they come into dynamic relations with pulse. Where there
is any difficulty, it is helpful for them to form a circle, raising
hands and lowering them on a strong beat, or to tap, clap, or jump
together. The teacher and more advanced children can thus help
those who are less developed.
Any of the following National or Nursery tunes lend
themselves to this part of the work : —
| time. " Keel Eow " (March and Dance Album) ... ... SOMERVELL.
"Baa, baa, Black Sheep " (Dulce Domum) ... ... JOHN FARMER.
" Soldier's March " (Album for the Young) ... ... SCHUMANN.
| time. " Cadair Idris " (Songs of the British Islands) HADOW.
" Lavender's Blue " (Dulce Domum) FARMER.
" Oranges and Lemons " (British Nursery Ehymes) . . . MOFFAT & KIDSON.
£ time. " Upon Paul's Steeple " (Dulce Domum) FARMER.
" Song for England " (Songs of the British Islands) ... HADOW.
And any strongly-marked Marches.
The children's attention is drawn to the repetition of tune ;
for example, " Hush-a-by, Baby " is dramatized, one child lying
asleep, the others dancing round in a ring. The children
naturally ask for it again and again, and on each
occasion some change is made — they dance the opposite way — join
hands with a partner — dance separately — form little rings of two or
three children, etc. Then the teacher suggests that the tune will be
played three or four times in succession, without a pause between,
and the children decide beforehand how they will shew the repetitions.
This requires careful listening on their part, in order to note the
moment at which to change their movement.
In connexion with the band lessons, it has been found that the
children, in listening to such pieces as " St. Patrick's Day," Handel's
" March in Scipio," etc., note with comparative ease changes in the
character of the music. Moreover, if there is more than one "tune"
(i.e., part) in the course of a piece, they readily respond to the idea
of different instruments playing the different " tunes " ; for example,
in a piece in simple Ternary Form, they will perhaps suggest that
drums and cymbals shall play the first part, triangles and
tambourines the second part, and that drums and cymbals shall play
again when the first part is repeated
x APPENDIX.
STAGE III. — Children about 6 to 7 years.
The children's experiences here are similar to those at Stage II,
but more varied and complex. Simple compositions of a well-marked
character are chosen, and the children dance quite
freely, the teacher's work being to encourage ever
greater attention to the music, and to stimulate imagination by means
of story and suggestion.
The following — amongst others — have been found suitable for
this purpose :—
"The Hornpipe " (March and Dance Album) SOMERVELL.
" De'il among the Tailors " „ ... ... „
" Knight Rupert " (Album for the Young) ... ... SCHUMANN.
"March of Dwarfs" (Op. 54, No. 3) GBIEO.
"Humoresque" DVORAK.
" Sicilianisch " (Album for the Young) SCHUMANN.
" Norse Song " „ ... ... ... „
" Italian Mariner " ,, ... ... ... ,,
" First Loss " „ ... ... ... „
" Mirlitons " (Casse Noisette Suite) TSCHAIKOWSKI.
" Lieder ohne Worte " (No. 30) MENDELSSOHN.
(No. 34) ...
"Berceuse" ... ... ... ... ... ... GBIEG.
" Schlummerlied " ... ... ... ... ... ... SCHUMANN.
"Narcissus" ... .. ... ... ... ... NEVIN.
" Henry VIII Dances " GERMAN.
" Nell Gwyn Dances " ... ... ... ... ... ,,
The children are now led to discover and express the pulse in
more difficult examples. In the lower stage they shewed the pulse and
measure by alternating steps and by arm movements —
now they are ready to express this knowledge in words.
They understand the word " measure " in relation to length, and in
reference to weight and liquid measures, because they use these in
their practical arithmetic; it is then suggested that we measure
music too. They listen to one measure, or bar, of music and are soon
able, by recognition of the strong pulses, to find the number of
measures in short phrases, and can dance, or play their band-
instruments, for a given number of measures. They learn to express
in words, as well as in movement, the number of pulses in two-,
three-, and four-pulse measures. It is at this stage that the children
are taught how to beat time.
APPENDIX.
Form.
The children can already detect when a tune is repeated ; they
listen to a simple piece in Binary Form and discover two parts.
They suggest ways of shewing these ; for example, by
dancing in a ring for the first part, and reversing or
separating from one another for the second ; or again, by dancing
individually, then sitting down, taking partners, twirling round, etc., etc.
Many suggestions will be made by the children and each can be
tried in turn. All will be useful, because each will help them to
express, and so to become fully conscious of, what they hear;
besides, this activity will give the children a purpose for listening,
and the fact that they are encouraged to suggest will make them keen
and full of interest. In the manner indicated above, many other
examples of Unary, Binary, and Ternary Form may be introduced,
the children originating actions to suit. The following pieces are
suitable for this purpose, to which the teacher may add many others : —
Unary.
Binary.
Ternary.
"Oh! dear, what can the matter be?" (March and
Dance Album) ... ... ... ... ...SOMERVELL.
" Lavender's Blue " (Dulce Domum) FARMER.
" Dickory, dickory, dock " (British Nursery Ehymes) ... MOFFAT & KIDSON.
" There's nae luck " (March and Dance Album) ... SOMERVELL.
"The Keel Eow" „ „ ,
" King Arthur" (Baby's Opera; Old Air) WARNS.
" Come, lasses and lads " (Songs of the British Islands) HADOW.
" Charlie is my Darling " (Songs of the British Islands) HADOW.
" Wi' a hundred pipers " (March and Dance Album) ... SOMERVELL.
" Buy a broom " (Dulce Domum) ... ... ... FARMER.
" Song of the Western Men " (Songs of the British
Islands) ... ... ... ... ... ... HADOW.
" Dear Harp of my Country " (Songs of the British
Islands) ... ... ... ... ...
Phrases.
In order to help the children to become conscious of the division
of the music into phrases, it is suggested that they should dance a
certain piece with more variety of movement than they
have been accustomed to give it. Here it may be
helpful for the children to choose partners and to dance sometimes
together and sometimes alone. They listen for the music to tell
them when to change and originate another movement. At this
stage they are so accustomed to attend to the music that they easily
discover the phrases and find a change of rhythmic expression to
mark each new phrase as it occurs.
xli APPENDIX.
In close connexion with this comes the realization and the
expression of Cadences. These can be made very interesting if
simple examples are taken. The children experiment
by endeavouring to continue talking without taking
breath, and at once find the need for pauses ; they also listen to
reading where stops are neglected. They are then told that music
nas breathing-places too. They listen while a tune with which they
are familiar is played without its phrasing — they hear it again,
listening for the breathing-places. They dance, and shew these
breathing-places as they think best — they may twist, kneel, bend,
clap, etc., and if entire freedom is allowed, the children usually choose
actions which fit the music. A graceful bend suits one Cadence
and a sharp clap another. As soon as musical expression becomes
stereotyped, a great deal of its value is lost. At this stage, the
children only recognize breathing-places ; there is no attempt as yet
to formulate the difference between one kind of Cadence and another.
A Perfect Cadence, however, makes naturally a more marked
impression upon the children's minds.
STAGE IV. — Children about 7 to 8 years.
Again the children's experiences are widened, their music is
more varied and complex, and demands greater attention. The
children are never asked in so many words what effect
Cn8.P8.Ct6P
a composition has upon them, as this would tend to
centre their thoughts upon themselves rather than upon the music,
and would result in artificiality and self-consciousness ; but in order
to help them to formulate their ideas as to the character of the music
itself, three methods are followed :—
(1) The children often choose the kind of music for their
dancing, for example, sad, slow, gay, bright, quick,
weird, etc.
(2) They are encouraged to tell stories and make pictures
suggested to them by the music ; such pieces, for
example, as the following usually being effective in this
connexion :—
" Hall of the Mountain King ' (Peor Gynt Suite) GRIEG.
" Knight Eupert " (Album for the Young) ... SCHUMANN.
" Pastoral Dance " (Nell Gwyn Suite) GERMAN.
(3) At other times the children's power to read meaning
into music is increased by a background of environment
APPENDIX. xiii
and story supplied by the teacher. This was done very
successfully, in the writer's own experience, in the case of
the "Paupukeewis Dance" from Coleridge Taylor's "Song
of Hiawatha." Before this music was introduced, the
children were well acquainted with the environment of the
North American Indians, the main thread of the story,
and the most important characters in Longfellow's poem.
They knew well the first stanza describing the dance : —
" First he danced a solemn measure,
Very slow in step and gesture.
In and out among the pine trees,
Through the shadows and the sunshine,
Treading softly like the panther ;
Then more swiftly and still swifter,
Whirling, spinning round in circles,
Leaping o'er the guests assembled,
Eddying round and round the wigwam,
Till the leaves went whirling with him,
Till the dust and wind together
Swept in eddies round about him."
To the children the music expressed the same ideas in
a wilder and more wonderful way. The Overture to
the " Midsummer Night's Dream " (Mendelssohn) was
treated in a similar manner. The story of Shakespeare's
fairy scene had been told several times, and had been
freely dramatized by the children, so that when the
music was introduced it was enthusiastically received,
and its purport thoroughly realized.
In the second of the above methods, therefore, the children hear
the music and it suggests ideas, in the third method they listen for
the music's interpretation of the ideas which have already been
suggested to them.
Other examples of suitable music for this stage are :—
[The Wind ]
Three Melodies \ The Wave \ HELLER.
[The Mermaid J
Hebrides Overtiire ... ... ... ... ... ... ... MENDELSSOHN.
Waltz (Lyrische Stiickchen. Book I) GRIEG.
Elfentanz
Watchman's Song ,, „ „
Preludes. Nos. 1, 7, 15 and 20 .. CHOPIN.
Minuet in F (No. 6 of Sept Pieces), Peters' edition, No. 4c ... HANDEL.
f Anitra's Dance "j
Peer Gynt Suite \ Death of Asa ^ GRIEG.
[Hall of the Mountain King J
These last three pieces may be taken successively as striking
contrasts.
XIV
APPENDIX.
If desired, the children can now advance to the study of the
difference between simple and compound times, but it
is usually wiser to leave this till a later stage, giving
more experience on the lines already begun.
At this stage recapitulation of the work already done should be
made, more difficult examples, such as the following,
being given : —
(Songs of the British Islands)
Form.
Binary Form.
The Oak and the Ash " (Songs of the British Islands) HADOW.
" Early one morning " „ „ ... „
" Let Erin remember „ „ ... „
" Carman's Whistle " „ „ ... ,,
" Barbara Allen " „ „ ... „
" Bailiff's Daughter " „ „ ... „
" Norwegian National Song " ... ... ... ... GRIEG.
Minuet in F (given above, page xiii) HANDEL.
" May Fair " (Songs of the British Islands) HADOW.
*** This last example is a useful one by means of which to introduce
the idea of a Coda.
Ternary Form. " The Last Eose of Summer " (Songs of the British
Islands) HADOW.
" British Grenadiers" (Songs of the British Islands) ... ,,
"Miller of Dee" (The Jolly Miller) (Songs of the
British Islands) „
" Blue Bells of Scotland " (Songs of the British Islands) ,,
" The Minstrel Boy " „ ,, ... „
" My Lady's Garland " (Minuet) „ ,, ... ,,
"Merch Megan „ „ ... „
" Sicilianisch " (Album for the Young) SCHUMANN
•• The Wild Rider " „ „
41 Eustic Song " „ „ ,,
" Morris Dance " (Henry VIII Dances) GERMAN.
" By the Spring " "j
•" Turkish March " .. GURLITT.
" Buds and Blossoms " J
Waltz (Lyrische Stiickchen, Book I) GRIEG.
"Humoresque" DVORAK.
The children now listen more critically to the breathing-places in
the music ; they notice that some are longer than others. Reference
is then made to full-stops and commas in reading.
Cadences* Simple tunes with well-marked cadences are played to
the children, and they note (1) the number, (2) the
kind of stops. They then suggest methods of shewing these ; for
APPENDIX. xv
example, if a full stop is represented by a complete turn, a comma
may be shewn by a half turn ; if by kneeling, the comma may be
represented by a bend. Loud and soft claps may be used in this
connexion to express these differences in the punctuation of the
music.
The terms "phrases" and "whole-" and "half-cadences" are
then introduced. The children already know how to express the
idea of the phrase and the cadence by movement ; they should now
be able to combine their movements to illustrate both.
The results here described have been brought about largely by
the opportunities given to the children of expressing their thoughts
and feelings freely in movement. The advantages gained are : —
(1) That the children, through projecting themselves in
thought into the music, and formulating in movement
the ideas thus gained, come into more sympathetic
relation with it.
(2) That interest and pleasure in music is heightened,
because when the children are allowed to interpret it
in this dynamic way, they are more inspired than if
they were merely passive listeners to the teacher's
interpretation or directions.
(3) That a more complete understanding and a deeper
knowledge of music are attained than would be possible
where muscular activity and motor images are not called
into play.
The most encouraging part of any experiments upon these lines
is the children's increased interest in music itself, and their growing
power of understanding and appreciating it.
This is the one great aim ; and the expression of musical
experiences by movement, and, later, the more analytic study of the
musical fabric are, and must always be, considered as means to
this end — never as ends in themselves.
AURAL CULTURE
BASED UPON MUSICAL APPRECIATION.
BY
STEWART MACPHERSON AND ERNEST READ.
SYNOPSIS OF PARTS II AND III.
PART II — The series of major keys — Compound Time — The simpler
Modulations — Sight-singing and Dictation tests in one
and two parts — The study of Intervals from both a
melodic and harmonic point of view — Triads — Phrasing
—Irregular Rhythms — Construction of Melodies—
Study of Character, form and style as exemplified in
compositions by well-known writers.
PART III — The Minor Key regarded from a harmonic standpoint
—The Chromatic Scale — More advanced Modulation—
Sight-singing and Dictation tests, harmonic and contra-
puntal— Advanced Rhythmic studies — Construction of
Melodies — An introduction to the aural study of
Harmony — Further "Appreciative" study of the works
of the greater masters — Some characteristics of the
music of various periods.
MUSICAL APPRECIATION IN THE SCHOOLS.
MUSIC IN THE NURSERY SCHOOL. By Lilian Bueke.
This delightful little book meets a long-felt want in Infant and Nursery Schools. It introduces music to the
little toddler in an attractive play-way; Songs, Singing Games, Listening Games, The Toy Band and many other
interesting features are included. Musical examples are given to illustrate each step. This book is invaluable
to parents as well as teachers. Stiff paper covers (illustrated), 3s. 6d. net.
MUSIC IN THE KINDERGARTEN AND LOWER FORMS. By Lilian Bueke.
This important work, the result of the authoress's experience in (i) teaching children of the kindergarten age,
and (2) the training of teachers, deals with the first stages in the task of awakening the young child's
sensibility to musical impression. It is intended to precede Part I of " Aural Culture based upon Musical
Appreciation " (Stewart Macpherson and Ernest Read), to which it is related in principle, and to which it leads
in natural sequence. Stiff paper covers (illustrated), 5s. net (2nd imprint).
THE SONGS OF THE CHILDREN.
A Collection of VERY EASY Nursery Songs with the traditional tunes. Harmonised by Lilian Bueke.
British Islands. Set I (Very Easy). 2s. 6d. net.
This edition of the Nursery Songs is especially designed for use in Aural Training and Musical Appreciation
classes, and is intended for use in conjunction with " Music in the Kindergarten and Lower Forms."
SONGS FROM A FRENCH NURSERY. Adapted and Harmonised by Edith Rowland.
Of the nine tunes contained in this book, the first seven come from Brittany, the remaining two are
French-Canadian. (Moderately easy.) 2s.net.
Bonjour, Tante Perrine.
2. Les Cloches.
3. A la Claire Fontaine.
4. Le Panier Rond.
5. N'as-tu pas vu mon Gas ?
6. Les Poulettes.
Suzon.
Une Perclriole.
Noel.
NET
AURAL CULTURE based upon Musical Appreciation. By Stewart Maepherson and s. d.
Ernest Read. In Three Parts Parti 5 0
Introduces the Pupil to the basic facts of Time, Pitch and Rhythm, practice in Sight-Singing and Musical Dictation,
forming an integial part of the course of instruction. It also contains a valuable Appendix, dealing with Rhythmic
movements for young children, etc.
Ditto Partll 7 0
Introduces the Pupil to more advanced aspects of Time, Rhythm and Pitch. The subject of Modulation— with
Sight-Singing and Dictation Tests thereon — is brought to his notice, and the cycle of major keys exemplified in
actual living music, etc.
Ditto Part III 7 0
As in Parts I and II the pupil is introduced to the facts of Time and Pitch through music itself. The question of the
Minor Key is dealt with from the harmonic stand-point, having for its object the development of the sense of Tonality
and Key. The teaching of the aural perception of Intervals and Rhythm proceeds along modern and novel lines.
The development of the aesthetic sense takes the form of a series of graduated Appreciation lessons, dealing with style,
personality and period in musical art.
Rhythmic Exercises & Songs (Pupil's Books). Part I, I/- net; Part II, 1/6 net; Part III, 2/-net.
Aural Training Series:—
No. i. FIRST STEPS IN MELODY MAKING, including some Songs and Sight-Singing
Exercises, etc. By Ernest Read 1 6
No. 2. STUDIES IN SIGHT-SINGING. By Ernest Read 2 0
EASY AND MELODIOUS SIGHT-SINGING EXERCISES. In Sol-fa and Staff Notation (for
use with "Aural Culture"). By Edith Rowland 1 6
NURSERY RHYME PIECES.
Nursery Rhyme Pieces. A set of easy piano solos for elementary pupils, applying the principles of
Aural Training. Illustrated by " Mac." Composed by Ernest Read. Price 2s. 6d.
Rhymes and Rhythms. 15 easy piano duets, applying the principles of Aural Training. Illustrated
by Hugh Chesterman. Composed by Ernest Read. Price 3s.
THE MUSICAL EDUCATION OF THE CHILD. By Stewart Maepherson.
In view of the significant report of the committee appointed by the Board of Education to consider the
Differentiation of Curricula in Boys' and Girls' Schools, in which the great importance of music in education
is strongly insisted upon, the question of the lines upon which such musical work should be carried out becomes
one of considerable urgency for all heads of schools, teachers and parents.
In his little books of essays Mr. Stewart Macpherson speaks of the true function of music in school life, and
outlines a practical scheme of work which in its main features is the outcome of conclusions virtually identical
with those arrived at by the signatories to the report referred to above.
Stiff paper covers, 3s. 6d. net.
THE CHILD'S TRAINING IN RHYTHM. By Sylvia E. Currey.
In putting forward this little book dealing with the teaching of Rhythm, the Authoress has had especially in
mind the difficulties encountered by teachers who are responsible for the musical training of young children, and
she hopes that to such the book may be of some service.
On account of the strong appeal which is made, in the case of young children, by Nursery Rhyme Tunes and
National Melodies, the use of these is indispensable in the early stages of musical training; it has, therefore,
seemed advisable to draw largely upon these in the musical illustrations.
Stiff paper covers, 2s. 6d. net.
B 226
London: Joseph Williams, Limited, 32 Great Portland Street, W.I.
SCHOOL SONGS IN UNISON
No.
SERIES 1.
TITLE.
to 15 Various.
Price 3d. each number.
COMPOSED BY COMPASS.
to E
to F
16 The clown's song J. L. Hatton . . C
17 One by one G. A. Macfarren C to E
~ toF
D
to F
to E
18 Little Billee .............. F. Pascal ....
19 Vogelweid theMinnesinger.J. L. Hatton .. D to E
20 The ugly duckling ...... Marcia Tyndale C J to D
21 There was a jolly miller ..Old English ---- D to D
22 A wet sheet and a flowing sea. L. Elliott .... D to E
23 Moya Town ............ L. Elliott ...... C to E (or C)
24 Looking forward ........ F. Pascal ...... D to Eb (orG)
25 Old friends ............. E. I. Loder ---- D to E
26 The cricketer ............ F. Pascal ...... Bb (orC) to F
27 Tom Tiddler's ground ---- Wakeling Dry . .
28 Britannia ................ L. Elliott ......
29 TruthfulTom ............ F.Pascal.. ----
30 I am a brisk and sprightly lad. Old English ..
31 Cycling song ............ L.Elliott ......
32 The golfer .............. F.Pascal ......
33 Football Song ............ F. Pascal ...... Cf to E
(c)34 The oak and the Union Jack. F. Pascal .... Kb to F
35 Making the best of it . . . .Carl Gressler .. C to D
36 Rumpty Tumpty ........ E. Solomon .... Bb to D
37 The snowdrop ............ F'. Pascal ...... Cto D(orF)
(c) 38 Indian lullaby ............ Carl Gressler ..
39 My darling .............. Marcia Tyndale
40 Old John and Joan ...... F. Pascal ......
41 The oyster lad .......... J. Greenhill ----
42 The song of home ........ J. Reading ....
43 Who killed Cock Robin?. . R. L.de Pearsall
44 That telleth of joy ........ A. R.M.Dobson
45 Hawke .................. Dr. C. H Lloyd
46 The fighting Temeraire . . F. Pascal ......
47 Rain- drops patter ........ A.Scott Gatty. .
48 Child's good-night ........ A.Scott Gatty. .
49 Clifton song .............. C. W. Maudsley
50 Hear what the sea-wind saitli.F. Pascal ....
(c) Staff and Tonic Sol-fa combined.
Separate Tonic Sol-fa editions to nos. 1-13, id. each.
SERIES II.
Pyice 3d. each number (except nos. 16 and 25, 4d. each).
i What a hero you must be .... F. Pascal ........ A to D
to F
to Eb
to Eb
to E
to E
to D
to Kb
to E
to K
to Kb
to K
to D
to E
to D
D toF
4 The roaring forties Old English Bb to I)
5 The three old men of Gotham. . .Old air C
6 The Arethusa William Shield G(orB)tokb
7 The bold Menelaus Alan Gray A (or D)to K (or F)
8 Playing fields F. Pascal .
9 Eyes in the boat F. Pascal C
(A song of the winning crew)
10 Only dreaming F. Pascal
(c) 1 1 A goodnight song Kllen Goodspeed
(c) 12 Holland Kllen Goodspeed
(c) 13 Miss Poppy Kllen Goodspeed
14 Of the moon Kllen Goodspeed
1 5 Be prepared F. Kiicken
16 The battle of the Baltic . . H.OrsmondAnderton
(With ami Voice Part ad lit.}
17 Thechaseof life (hunting song) V.. Markham Lee
18 On the lake of dreams F. Pascal
19 The shepherd F. Pascal
20 May morn F. Pascal
21 Fairy swing song F. Pascal
32 Glad music F. Pascal
23 The gipsie's call H. G. Ley
24 The walrus and the carpenter. .A. Scott Gatty..
25 On Surrey hills Crton Bradley . .
26 Cricket Arr.byJ. Farmer
27 To meet again Mendelssohn . .
28 John Peel Arr. by J. B. W.
29 Widdicombe Fair Folk song
30 Here's a health unto His Majesty C
31 Carrion crow. (Sep. T.S. zd.) Old English ....
32 Old King Cole Old melody
(c) Staff and Tonic Sol-fa combined.
SERIES III.
Price 3d. each number (exceptions, i, 4, 18, 19, 240x^28,
1 MenofHarlech arr. Cyril Jenkins
2 All thro' the night arr. Cyril Jenkins
3 David of the White Rock arr. Cyril Jenkins
4 The Ash Grove arr. Cyril Jenkins
5 When I'm big Cyril Jenkins. . . .
6 Little Boy Blue Cyril Jenkins
7 The mulberry bush Cyril Jenkins ....
8 The man in the moon Cyril Jenkins. . . .
9 Doggie Granville Bantock
10 Day and night Cecil Sharman . .
1 1 Putting the world to bed Cecil Sharman . .
12 The shepherd Cecil Sharman ..
1 3 The lamb Cecil Sharman . .
14 The birds Peter Warlock . .
15 Billy and me Laurence Powell
16 The beggar maid Laurence Powell
17 When daffodils begin to peer. . Hubert Hales. . . .
C to E>
1 (or III to Kb
)) to K (or F)
Kb
o F
C
oE
D
oE
C
oD
C
oE
I)
oE
K
oE
I)
oFf
B
o K
C
oK
D
o E
D
oE
I)
oE
D
oK
C
oEb
B
o Ff
Cf
oEb
D
o Eb
E
oE
E
oE
Cf
oD
D
oD
c
oD
Ob
oD
D
oD
28, 4.1
each).
D
oE
D
oE
B
oE
C
oD
D
oD
E
o F
C
oD
E
oF
• E
oF
D
oE
C
oE
E
oE
E
oE
F
oG
Db
oF
C
o F
D
oE
Both Notations combined.
*• SERIES Ill-continued
No. TITLE. COMPOSED BY COMPASS.
logon Hubert Hales G to E
Lawn as white as driven snow Hubert Hales. ... F to Eb
Get you hence Hubert Hales. ... F to E
19 \Will you buy any tape? Hubert Hales. ... D to Eb
20 The little Celandine E. L. Baintcn . . . . D to G
21 The march past Cecil Sharman . . D to E
22 The shrimp Cecil Sharman . . E b to Eb
23 All creatures of our God and King. J. A. Tatam .. E to G
24 The standing toast (with chorus)W. E. Smith C to E
25 The nightingale F. A. Ogilvy .... C to Y(or G
26 A Spring carol Hubert Hales .... F to F
27 For all the Saints (in F or G). .Granville Bantock C to F
38 Christmas Song W. E. Smith Ff to G
29 "Ay" Hubert Hales F to F
30 Minnie and Winnie Hubert Hales. ... F to F
Nos. 1-4 with Welsh and English text.
** SERIES IV. Price 3d. each number.
Selected and Edited by ERNEST READ, F.R.A.M.
London Townt Barbara Frost .. C to E
3 Miss Poppyt Ellen Goodspeed. D to E
4 A good-night songt Ellen Goodspeed. C to D
5 Fairyland} Granville Bantock D to F
6 Blackberrying song} Alec Rowley .... C
7 Very lovely} Lilian Smith .... C
8 Holland } Ellen Goodspeed. C
9 Hunting the wren} Adam Carse .... D
10 Sometime Tim} Stanley Marchant D
11 Girls and boyst Barbara Frost
to F
to E
to Kb
to B
toD
toF
toF
to F}
to E
toD
to E
to D
18 A rhyme of time} Felix White Cf to K
13 The happy tree} ............ Cynthia C. Cox . . C
13 Fairies and chimneys} ...... Lilian Smith .... C
14 The canoe} ................ Alec Rowley
1 5 John Cook's mare} .......... Adam Carse .... K
16 The new moon* ............ Felix White .... D
17 The Broomsijuire's son} ...... Adam Carse
19 When the cows come home} . . Ernest Bullock . . D to E
20 All the bells were ringing} .... Ernest Bullock . . D to E
21 Mistletoe* Jessie Furze .... C to Ff
22 Hide and seek* Jessie Furze .... D to E
23 Shellover} Jessie Furze .... C to E
24 Fairy lullabyt Percy Judd D to D
95 A wet sheet and a flowing sea} C. Palmer BtoE(orG)
D toF
D to E
D to D
C toE
D toG
Eb to F
C toE
D to F|
D toE
C toE
Bb to E
D toG
D to F*
Eb to Eb
D to F
D to Ff
26 If J Barbara Frost .
27 She is a winsome wee thing}. .Allan Biggs
28 Eastern air } Allan Biggs
29 The owl } Cecil Sharman . .
30 St. Leonard's Forest * Harry Farjeon . .
/ a Ewes } Harry Farjeon . .
31 I o Arundel { Harry Farjeon . .
32 Mr. Macanally { Cecil Sharman . .
33 The balloon lady } Cecil Sharman . .
34 Daisies} Jessie Furze ....
35 The rock-a-bye lady * Jessie Furze ....
36 I had a dove (" Song ") * .... Jessie Furze
37 O brother man } Norman Demuth
38 O my dear heart } Norman Demuth
39 Soldiers three * Norman Demuth
40 Will you buy any tape? * .... Norman Demuth
(a Bread and cherries t Phyllis Clegg D to F
41 \ b Three jolly gentlemen t Phyllis Clegg D to D
{a Spinning song t H. V. Jervis Read C to C
b He was a merman t H. V. Jervis-Read C to F
t Very easy. } Easy. * Moderately easy. 4 Moderate.
** SERIES V. r rice 3d. each number.
Arranged by GRANVILLE BANTOCK.
1 Flowers o' the Forest Jane Elliot D to E
2 Ye banks an' braes Robert Burns. ... D to E
3 Highland laddie James Hogg .... C to F
4 The Campbells are comin'.. . .Traditional C to E
5 My ain kind dearie, O Robert Fergusson C to F
6 Annie Laurie ^a^v Jonn Scott C to E
7 Bonnie Dundee Sir Walter Scott C to F
8 John Highlandman Robert Burns C to F.
9 A hundred pipers Lady Nairne .... C to F
10 Auld Lang Syne Robert Burns D to E ( or G)
1 1 Lock the door, I .ariston James Hogg .... 1 > to Ff
12 TheMarchoftheCameron Men. Traditional .... D to Ff
** SERIES VI. Price 3d. each number.
i Evening Eric H. Thiman D to E
** EDUCATIONAL SONGS.
Selected, and with Annotations by J. MURRAY MacBAIN.
1 A Thanksgiving Hymn Eric H. Thiman 2d. (Senr.)
2 A True Story Cecil Sharman.. 2d. (Jnr.)
faWilly, Willy, Will Folk Song \, ,v K*
3 1 <*The Naughty Duckling Hilda Paul .... J2<1
4 Little Trotty Wagtail Ivor R. Davies. . 3d. (Senr.)
(with descant)
5 Travelling Ivor R. Davies. . id. (Senr.)
6 Little Ladies Long Ago V. Rastrelli . .id. (V K & Jnr.)
7 Bird's Roundelay French Song. .2d. (V E & Jnr.)
Bound Volumes of Specimen Part Songs, Unison Songs, Cantatas, etc., will he sent for Inspection to bona-flde
teachers. To be returned wit bin 14 days with order, together with cost of postage.
London: Joseph Williams, Limited, 32 Great Portland Street, W.I.
PERCUSSION BAND MUSIC
FOR CHILDREN OF ALL AGES
The object of the Toy Band is to enable small children to take part in the performance of simple
instrumental music, instead of merely listening to it.
For castanets, triangles, tambourines,
RHYTHMIC BAND, SERIES 1. Arr. by ERNEST READ.
cymbals, drums, piano-conductor and child-conductor's score.
NET CASH
s. d.
1 Schumann. Soldiers' March . . . . complete i o
2 Bach. Minuet in G.. .. .. .. „ i o
3 Handel. Bourree in G .. .. .. ,, i 6
4 Schubert. Ballet Music in G .. .. ,, i 6
5 Mendelssohn. Children's Pieces No. i „ i 6
6 Purcell. Minuet and Trumpet Tune .. ,, i 6
7 Beethoven. Minuet in G
8 Mendelssohn. Venetian Gondola Song
9 Mozart. Minuet in F
10 Tschaikowsky. Russian Dance, from Op. 40
' } In the press.
NET CASH
d.
6
6
6
complete
For Nos. i to g additional separate parts may be had at ad. net each and separate child-conductor's score at 6d. net each.
Extra violin and 'cello parts to No. 3 at 3d. net each.
Additional separate parts to No. 10 may be had at 3d. net each and extra child-conductor's scores at od. net each.
NET PRICES.
Child
Complete conductor's
RHYTHMIC BAND, SERIES 2. Selected by ERNEST READ.
1 Yvonne A.dair. The elf, the giant and the gnome
For triangles, tambourines, drums and piano.
2 Yvonne Adair. A little concerto
For triangles, tambourines, cymbals, drums, piano and voices.
L. Van Beethoven. Six ecossaises.
3 Nos. I & II 1
4 . Nos. Ill & IV > Arranged Muriel A. Green
5 Nos. V & VI J
6 F. Schubert Valses nobles, op. 77. Arranged Muriel A. Green
7 Edith Rowland. The holiday party, Overture
For triangles, tambourines, cuckoo, quail, nightingale, drums and piano (duet).
8 J. S. Bach. Musette (arranged Ella Fairall)
9 J. S. Bach. Polonaise (Arranged E. M. Collins)
10 R. Schumann. Papillons (Arranged Ella Fairall)
11 E.M.Collins. Come, ye young men (Old Song) ..
12 E. M. Collins. Gathering Peascods (Country Dance)
s. d.
i 6
ffos. 3, 4, 5, 6, 8, 9, 10, n, 12 are for castanets, triangles, tambourines, cymbals, drums and piano
RHYTHMIC BAND, SERIES 3. Selected by ERNEST READ.
1 O. Petersen. A Scandinavian Dance (Arranged M. Evans)
2 Madeleine Evans. A Chinese Festival
3 E. M. Collins. The White Cockade (Old Scottish Air)
4 E. M. Collins. The Hundred Pipers (Scotch Air) . . . .
5 E. M. Collins. The Ash Grove (Welsh Melody)
6 Schubert. Moment Musical (Arranged R. Reichardt)
Nos. i to 6 are for castanets, triangles, tambourines, cymbals, drums and piano.
7 Bee'.hoven. Turkish March (Arranged Edith Rowland)
For triangles, tambourines (and bells), cymbals (and gong), side drums and piano (duet}.
score
s. d.
Extra
parts
each
s. d.
RHYTHMIC BAND, SERIES 4. Arranged by ERNEST READ.
For castanets, triangles, tambourines, cymbals, drums, piano-conductor and
child-conductor'' s score, with elementary optional string parts. Complete
set of strings price is. net, or separately, price 4d. net each.
1 Schubert. Marche Militaire
2 Handel. March from " Scipio "
3 Handel, (a) Gavotte from " Otho "
(b) March from " Occasional " Oratorio. .
4 Handel. Minuet from " Samson "
Extra child- Extra
Complete conductor's per-
percussion score with cussion
and pfte. pfte. parts
26 i 6 03
(Early Stages). Selected by
PERCUSSION BAND SERIES.
YVONNE ADAIR.
1 Ella Fairall. Under the Rose (Old English Song)
2 Ella Fairall. Conversation at the Tea Party
3 Purcell. Rigadon (Arranged Katharine Benham)
4 Purcell. Air in D minor ,, ,, ,,
5 Yvonne Adair. Tweedledum and Tweedledee
Nos. i, 2 and $ are for triangles, tambourines, drums and piano.
Nos. 3 and 5 are for triangles, tambourines, cymbals, drums and piano.
each
Separate child- Extra
conductor's parts
Complete score
i o 6
o 6
A SONG OF SPRING. By E. EKLESS. For voice (or voices) and piano, with accompaniments
for toy instruments. Score, is. 6d. Violin, 6d. Tambourine and drum, 3d. Bells and birds, 3d.
Cuckoo, quail and triangle, 3d.
DANSE RUSTIQUE. By GEORGE E. MOTT. For piano, harmonium or American organ,
strings and toy instruments. Score or piano, is. 6d. Harmonium, 4d. Cuckooed. Trumpets, 3d.
String parts, 3d. each. Nightingale, 3d. Bells and triangle, 3d. Drums and tambourines, 3d
For particulars of instruments for Percussion Band ask for List 9 F.
B 12
London : Joseph Williams, Limited, 32 Great Portland Street, W.I
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